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INDIAN  STORY  AND  SONG 
FROM    NORTH   AMERICA 


INDIAN 
STORY    AND     SONG 

FROM   NORTH    AMERICA 

By 
ALICE  C.  FLETCHER 

Holder    of  the    Tbaiv    Felloivsbip 
Peabody  Museum   Harvard   Uni-versity 


Boston 

Small  Maynard  &  Company 

Publishers 


Copyright y  igoo. 
By  Alice  C.  Fletcher 


Entered  at  Stationers'  Hall 


To 

MY  INDIAN    FRIENDS 

from    whom    i    have    gathered 

Story  and  Song 


5b»)'>    V 


PREFACE. 

At  the  Congress  of  Musicians  held  in  connection 
with  the  Trans-Mississippi  Exposition  at  Omaha  in 
Julyi  l8g8f  several  essays  upon  the  songs  of  the  North 
American  Indians  were  read,  in  illustration  of  which 
a  number  of  Omaha  Indians,  for  the  first  time,  sang 
their  native  melodies  to  an  audience  largely  composed 
of  trained  musicians. 

This  unique  presentation  not  only  demonstrated  the 
scientific  value  of  these  aboriginal  songs  in  the  study 
of  the  development  of  music,  but  suggested  their  avail- 
ability as  themes,  novel  and  characteristic,  for  the 
American  composer.  It  was  felt  that  this  availabil- 
ity would  be  greater  if  the  story^  or  the  ceremony 
which  gave  rise  to  the  song,  could  be  known,  so  that, 
in  developing  the  them,e,  all  the  movements  might  be 
consonant  with  the  circumstances  that  had  inspired  the 
motive.  In  response  to  the  expressed  desire  of  many 
musicians,  I  have  here  given  a  number  of  songs  in 
their  matrix  of  story. 

Material  like  that  brought  together  in  these  pages 
has  hitherto  appeared  only  in  scientific  publications, 
where  it  has  attracted  the  lively  interest  of  specialists 
both  in  Europe  and  America.     It  is  now  offered  in 


PREFACE 

a  more  popular  fornti  that  the  general  public  may  share 
with  the  student  the  light  shed  by  these  untutored 
melodies  upon  the  history  of  music ;  for  these  songs 
take  us  back  to  a  stage  of  development  antecedent  to 
that  in  which  culture  music  appeared  among  the  an- 
cients,  and  reveal  to  us  something  of  the  foundations 
upon  which  rests  the  art  of  music  as  we  know  it 
to-day. 

Many  of  the  stories  and  songs  in  this  little  book  are 
now  for  the  first  time  published.  All  have  been  gath- 
ered directly  from  the  people ,  in  their  homes  ^  or  as  I 
have  listened  to  the  earnest  voice  of  the  native  priest 
explaining  the  ancient  ceremonials  of  his  fathers. 
The  stories  are  close  translations^  losing  only  a  cer- 
tain picture squeness  and  vigour  in  their  foreign  guise  ; 
but  the  melodies  are  exactly  as  sung  by  the  Indians. 

Indian  myths  embodying  cosmic  ideas  have  passages 
told  in  song  J  tribal  legends  have  their  milestones  of 
song,  folk-tales  at  dramatic  points  break  into  song ; 
but  into  these  rich  fields  I  have  not  here  entered.  This 
collection  reveals  something  of  the  wealth  of  musical 
and  dramatic  material  that  can  be  gleaned  outside  of 
myth,  legend,  and  folk-lore  among  the  natives  of  our 
country. 

Aside  from,  its  scientific  value,  this  music  possesses 


PREFACE 

a  charm  of  spontaneity  that  cannot  fail  to  please  those 
who  would  come  near  to  nature  and  enjoy  the  expres- 
sion of  emotion  untrammelled  by  the  intellectual 
control  of  schools.  These  songs  are  like  the  wild 
flowers  that  have  not  yet  come  under  the  transforming 

hand  of  the  gardener 

ALICE   C.  FLETCHER. 
Peabody  Museum, 

Harvard  University. 


Ix 


CONTENTS. 

Story  and  Song  of  the  He-dhu^-shka      ....  3 

Story  and  Song  of  IshM-buz-zhi 14 

Story  and  Song  of  the  Leader 21 

The  Omaha  Tribal  Prayer 26 

Story  and  Song  of  the  Bird's  Nest 30 

A  Trysting  Love-song 34 

Story  and  Song  of  the  Deathless  Voice  ...  39 

Story  and  Song  of  Zo^v^-zi-moa^-de 45 

Love-song.      Poetical    Transcription  by   Miss   E.    D. 

Proctor 49 

Story  and  Song  of  the  Wren 53 

The  Omaha  Funeral  Song 57 

Story  and  Song  of  the  Mother's  Vow   ....  61 

A  Love-call 68 

A  Game  Song  from  the  North-west  Coast     .    .  70 

Story  and  Song  of  the  Indian  Coquet  ....  74 

An  Old  Man's  Love-song 77 

Story  of  the  WE^-TOiv  Song 81 

A  Pawnee  Love-song 86 

Story  and  Song  of  a  Warrior 88 

The  Mocking-bird's  Song 94 

A  Song  of  the  Ghost  Dance 96 

Sacred  Songs  of  Peace    loi 

Comforting  the  Child 108 

Music  in  Indian  Life 114 

The  Relation  of  Story  and  Song 120 


LIST   OF    SONGS. 

Pagb. 

The  Insignia  of  Thunder  (Omaha) 6 

The  Warrior's  Prayer  (Omaha) 9 

The  Laugh  (Ponka) 13 

ISH^-i-BUZ-ZHi.     Dance  Song  (Omaha) 18 

The  Leader's  Song  (Omaha) 24 

Tribal  Prayer  (Omaha) 29 

The  Bird's  Nest  (Pawnee) 33 

Trysting  Love-song  (Omaha) 36 

The  Deathless  Voice  (Dakota) 42 

Zoiv^-zi-MOA^-DE  (Omaha) 45 

Love-song.      Poetical    Transcription    by   Miss   E.    D. 

Proctor  (Omaha) ^o 

The  Wren  (Pawnee) 54 

Song  to  the  Spirit  (Omaha) 58 

The  Mother's  Vow  (Dakota) 66 

A  Love-call  (Omaha) 69 

Game  Song  (Vancouver's  Island) 72 

The  Indian  Coquet  (Omaha) 75 

An  Old  Man's  Love-song  (Omaha) 78 

We-'-toa^  Song  (Dakota) 84 

Love-song  (Pawnee) 87 

A  Warrior's  Song.     Mi^-ka-thi  (Ponka) 92 

Mocking-bird's  Song  (Tigua) 95 

Song  of  the  Ghost  Dance  (Arapaho)    .     k  .    .    .  98 

Choral.     Sacred  Song  of  Peace  (Omaha) 105 

The  Gift  of  Peace  (Otoe) 107 

Kawas,  thy  Baby  is  crying  (Pawnee) 109 

xiii 


LIST    OF    SONGS 

Pags. 

Thy  Father  is  coming  (Pawnee) iii 

Look  Up  (Pawnee) 113 

Prayer  for  Rain  (Mexico) 123 

KwAKiUTL  Song  (British  Columbia) 123 


XIV 


INDIAN  STORY  AND  SONG 


STORY   AND    SONG^   OF-  T«t:'%':" 
HE-DHU'-SHKA.* 

It  had  been  a  warm  September  day ;  and  I  was  rest- 
ing in  my  hammock,  swung  from  a  wide-spreading 
tree  that  stood  near  the  tent  of  my  Indian  host. 
We  had  partaken  of  our  evening  meal  beside  an  out- 
door fire.  The  mother  was  busy  clearing  away  the 
supper  dishes,  the  men  had  gone  off  to  look  after 
the  horses,  the  children  had  fallen  asleep,  and  I  lay 
watching  the  shadowy  darkness  come  out  of  the  east 
and  slowly  pursue  the  glowing  trail  of  the  retreat- 
ing sun,  thinking  of  the  Indian's  imagery  of  night 
ever  haunting  and  following  upon  the  track  of  day, 
seeking  to  gain  the  mastery.  I  was  aroused  from 
my  musings  by  hearing  the  mother  say,  *'It  is 
chilly!"  for  the  fire  had  died  down,  and  the  deep 
blue  of  twilight  was  all  about  us. 

She  dropped  beside  the  embers,  blew  them  into  a 
feeble  blaze,  threw  on  fresh  wood,  that  crackled  and 
sent  up  a  shower  of  sparks  and  soon  bright  yellow 
flames  illumined  the  under  side  of  the  branches 
beneath  which  I  was  swinging. 

The  call  of  the  fire  summoned  one  tall  form  after 

*  In  the  Indian  words  and  vocables  the  voweU  have  the  continental  sound.  G  is 
hard,  as  in  ^^  ;  ^  is  like  ih  in  the  ;  ih,  as  in  thin  ;  «  as  in  French  en. 


;:  ;         INDIAN   STORY  AND   SONG 

bother  otit  of  tbe  dusky  surroundings,  and  around 
the  blazing  logs  robes  were  spread  here  and  there, 
on  which  the  men  reclined.  By  and  by  the  women 
came  and  dropped  down  near  the  fire,  and  added 
the  treble  of  their  voices  to  the  deep  tones  of  the 
men,  as  the  chat  of  the  day's  occurrences  went  on. 

It  was  a  peaceful,  picturesque  scene  upon  which  I 
looked ;  and  by  very  contrast  my  thoughts  reverted 
to  the  preceding  evening,  when  I  had  attended  a 
meeting  of  the  He-dhu'-shka,  society  composed 
of  warriors.  The  gathering  had  been  in  a  large 
tent;  and,  as  the  night  was  warm,  the  bottom  of  the 
tent  cover  had  been  lifted  to  let  the  breeze  blow 
through.  This  had  given  an  opportunity  for  the 
crowd  outside  to  look  within  and  watch  the  cere- 
mony and  the  dramatic  dance.  To  the  right  of  the 
door,  in  two  circles  around  the  drum,  sat  the  choir  of 
men  and  women,  all  in  their  gala  dress.  Each  mem- 
ber of  the  society,  wrapped  in  his  robe,  with  meas- 
ured steps  entered  the  tent,  and  silently  took  his 
seat  on  the  ground  against  the  wall.  The  cere- 
mony had  opened  by  the  choir  singing  the  ritual 
song  which  accompanied  the  act  of  charring  the 
elder  wood  with  which  the  face  of  the  Leader  was 
afterward  to  be  painted.     As  memory  brought  back 

4 


THE   HE-DHU'-SHKA 

the  scene  in  vivid  colours,  —  the  blazing  fire  in  the 
centre  of  the  wide  circle  of  muffled  warriors,  the 
solemn  aspect  of  the  Leader  awaiting  the  prepara- 
tion of  the  elder  wood,  and  his  strange  appearance 
after  the  painting  of  his  face, —  I  pondered  wonder- 
ingly  as  to  what  it  all  might  signify.  In  my  per- 
plexity I  spoke  from  my  hammock  to  one  of  the 
elder  men  in  the  group  before  me :  — 

** Grandfather,  I  wish  you  would  explain  to  me 
the  meaning  of  what  I  saw  yesterday  at  the  He-dhu'- 
shka  Society.  Tell  me  why  the  Leader  put  black 
on  his  face." 

My  friend  was  accustomed  to  my  questionings, 
and  all  eyes  were  turned  toward  him  as  he  replied : 

**The  Leader  put  the  black  cloud  over  his  face, 
because  the  black  cloud  is  worn  by  Thunder  when  it 
comes  near  to  man.  The  song  sung  while  this  is 
being  done  tells  that  the  Leader  is  making  ready 
and  impatiently  awaits  the  commands  of  the  ap- 
proaching god  of  war. "... 

This  is  the  song  which  accompanied  the  prepara- 
tion and  the  putting  on  of  the  insignia  of  the  thun- 
der god.  The  music  is  expressive  of  the  tremulous 
movement  of  the  leaves,  of  the  flying  of  the  birds, 
of  the  stir  of  all  nature  before  the  advancing  storm, 

5 


i 


PUTTING   ON   THE   INSIGNIA   OF   THE 
THUNDER   GOD. 

Omaha.    He-dhu' -shka. 

Harmonized  by  Prof.  J.  C.  Fillmore. 

Mysteriously  and  with  Agitation. 

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INDIAN    STORY  AND    SONG 

typifying  the  stirring  of  the  heart  of  man  when  sum- 
moned to  fight  the  enemies  of  his  people. 

At  the  close  of  the  song  and  ceremony  of  blacken- 
ing the  Leader's  face,  I  had  seen  the  Leader  take 
the  pipe  belonging  to  the  society,  fill  it,  and  rever- 
ently lift  the  stem  upward. 

"When  the  Leader's  face  is  painted,"  continued 
the  old  man,  '*he  offers  the  pipe  to  Wa-ko«'-da 
(god).  The  words  of  the  song  then  sung  mean: 
Wa-ko«'-da,  we  offer  this  pipe  (the  symbol  of  our 
unity  as  a  society).  Accept  it  (and  us).  All  the 
members  must  join  in  singing  this  prayer,  and  after- 
ward all  must  smoke  the  pipe." 

**The  He-dhu'-shka  Society  is  very  old,"  contin- 
ued my  friend.  "It  is  said  to  have  been  in  exist- 
ence at  the  time  when  the  Omahas  and  the  Ponkas 
were  together  as  one  tribe.  There  is  a  song  with  a 
dance  which  must  be  given  at  every  meeting.  It 
is  to  keep  alive  the  memory  of  a  battle  that  took 
place  while  we  were  migrating  westward,  and  where 
defeat  would  have  meant  our  extermination  as  a 
tribe.      I  will  tell  you  the  story.* 

"One  morning  the  tribe,  whose  country  had  been 
invaded  by  the  Ponkas,  made  an  unexpected  assault 

*  The  translation  given  is  by  my  collaborator,  Mr.  Francis  La  Flesche. 
8 


i 


PRAYER   OF   THE   WARRIORS   BEFORE 
SMOKING   THE    PIPE. 

Omaha.     He-dhu* -shka. 

Harmonized  by  Prof.  J.  C.  Fillmore. 


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INDIAN    STORY  AND    SONG 

upon  the  camp  of  the  invaders.  For  a  time  it 
seemed  as  though  the  Ponkas  would  fare  badly  at 
the  hands  of  their  assailants,  who  were  determined 
to  drive  out  or  destroy  the  intruders;  but  after  a 
desperate  struggle  the  Ponkas  pushed  their  enemies 
back  from  the  outskirts  of  the  village,  until  finally 
their  retreat  became  a  rout.  Both  sides  suffered 
great  loss.  The  ground  was  strewn  with  the  dead, 
and  the  grass  stained  with  the  blood  of  the  warriors 
who  fell  in  the  battle;  but  the  victory  was  with  us, 
and  we  had  conquered  the  right  to  dwell  in  that 
country. 

*'At  the  outset  of  the  conflict  a  man  bent  with 
age  emerged  slowly  from  the  door  of  one  of  the 
tents.  The  breezes  played  with  his  long  white 
hair  as  he  stood  leaning  on  his  staff,  shading  his 
face  with  one  hand  and  looking  intently  in  the 
direction  whence  came  the  noise  of  battle.  As  he 
recognised  the  voice  of  a  warrior  rushing  to  the 
fray,  imitating  as  he  ran  the  cry  of  some  animal 
(his  tutelary  god),  the  aged  man  called  after  him : 

**  *Once  more!  Once  more  be  the  undaunted 
warrior  you  have  hitherto  been!  Utter  aloud  your 
mystic  cry,  and  make  the  enemy  to  tremble  with 
fear!' 

lO 


THE   HE-DHU'-SHKA 

"If  a  youth  passed  by,  singing  his  death  song, 
the  old  man  would  ask  :  — 

**  *Who  is  that  young  man?  He  promises  well.* 
Upon  being  told  whose  son  he  was,  the  aged  man 
shouted :  *Ho-o !  You  have  the  spirit  of  your  father. 
Be  like  him  :  turn  not  your  face  from  the  foe ! ' 

**A11  day  the  old  man  stood  at  his  door  as  though 
rooted  to  the  ground.  As  the  hours  sped  on,  fainter 
and  fainter  grew  the  shouts  and  the  cries  of  the  con- 
tending men,  until  finally  the  sounds  died  away. 
Even  then  the  venerable  man  moved  not  from  his 
tent,  but  still  stood  watching.  Lower  and  lower 
dropped  the  sun  toward  the  western  horizon,  and  all 
through  the  village  anxious  faces  were  turned  in  the 
direction  whence  the  last  sound  of  the  fight  had 
been  heard.     Suddenly  a  woman  cried, — 

**  *  There  they  come ! ' 

*'At  her  words  the  old  man  leaned  forward, 
straining  his  dim  eyes  to  discern  the  distant  figures 
on  the  far-off  hill.  In  single  file,  on  the  warriors 
came,  one  preceding  another,  according  to  the  grade 
of  the  honours  he  had  won  in  the  battle.  The  Her- 
ald hastened  forth  from  the  village  to  meet  them 
and  to  learn  their  tidings.  After  a  halt  he  turned 
and  came  on  in  advance  of  the  men,  shouting  as  he 

It 


INDIAN   STORY  AND   SONG 

came  near  the  village  the  names  of  those  who  had 
fallen  in  battle.  As  each  name  was  called,  the 
wife  or  mother  of  the  slain  man  rent  the  air  with 
sudden  cry  and  wail,  so  that  the  whole  village  vi- 
brated with  the  sound  of  sorrow  as  the  victorious 
warriors  drew  near.  In  the  midst  of  all  this  com- 
motion the  aged  watcher  remained  motionless,  giv- 
ing no  sign  of  emotion  as  the  wailing  grew  in  vol- 
ume, and  stirring  not  even  when  he  heard  the  names 
of  his  two  sons  called  in  the  long  death-roll. 

*'As  the  warriors  entered  the  village.,  the  Herald 
proclaimed  the  names  of  those  who  had  distinguished 
themselves  in  that  memorable  fight.  Slowly  the 
men  of  valour  approached  their  aged  chief,  who 
bowed  acknowledgment  as  each  one  spoke  and  laid 
at  his  feet  a  trophy  of  war. 

**  Among  the  veterans  came  a  young  warrior,  who, 
in  this  his  first  battle,  had,  in  a  hand  to  hand  con- 
test, wrenched  a  club  from  the  grasp  of  his  antago- 
nist, and  had  slain  the  enemy  with  his  own  weapon. 
This  club  he  presented  to  the  old  man,  recounting 
the  deed.  The  chief,  lifting  the  weapon,  exclaimed 
with  a  dramatic  laugh  :  'Ha,  ha,  ha  !  It  is  thus  you 
should  treat  your  enemies,  that  they  may  fear  you. 
My  exhortations  to  our  young  men  have  not  fallen 


THE    HE-DHU'-SHKA 

on  deaf  ears.  Those  who  sought  to  destroy  our 
people  lie  scattered  and  dead  on  the  ground. 
Wherever  their  shadows  may  wander,  even  there  the 
fear  of  you  shall  be.  The  enemy  sought  to  make 
me  weep,  but  I  laugh.  *  And  the  old  man  danced 
to  his  triumphant  laugh  for  the  victory  of  that  day.  '* 

SONG   OF   THE   LAUGH. 

Ponka.    He-dhu'-shka, 


Ha,  ha,  ha     ha  ha !    Ha  ha !     hi  hi !     ha   ha  !     hi ! 

So  this  was  the  meaning  of  the  monotonous  song 
that  had  accompanied  the  opening  dance  I  had  seen 
at  the  He-dhu'-shka  Society,  where  the  dancer,  with 
body  bent  and  with  short  rhythmic  steps,  had  kept 
time  to  the  dramatic  laugh  of  the  song,  —  a  song 
that  had  seemed  so  aimless  to  me  only  the  night 
before. 

**  Every  song  of  the  Society  has  its  story  which 
is  the  record  of  some  deed  or  achievement  of  its 
members,"  said  another  old  man  who  was  lying 
beside  the  fire.  **I  will  tell  you  one  that  was 
known  to  our  great-great-grandfathers,"  and  rising 
upon  his  elbow  he  began  :  — 

13 


THE    STORY   AND    SONG  OF 
ISH'-I-BUZ-ZHI. 

**LoNG  ago  there  lived  an  old  Omaha  Indian  couple 
who  had  an  only  child,  a  son  named  Ish'-i-buz-zhi. 
From  his  birth  he  was  peculiar.  He  did  not  play- 
like  the  other  children ;  and,  as  he  grew  older,  he 
kept  away  from  the  boys  of  his  own  age,  refusing 
to  join  in  their  sports  or  to  hunt  with  them  for 
small  game.  He  was  silent  and  reserved  with 
every  one  but  his  mother  and  her  friends.  With 
them  he  chatted  and  was  quite  at  ease.  So  queer  a 
little  boy  could  not  escape  ridicule.  The  people 
spoke  of  him  as  one  'having  no  sense,'  and  it 
seemed  as  though  he  would  have  no  friends  except 
his  parents  and  a  few  women  intimates  of  his 
mother. 

** During  the  long  winter  evenings,  when  the  old 
men  who  came  to  his  father's  lodge  talked  of  bygone 
times  and  told  tales  of  ancient  heroes,  this  silent, 
seemingly  heedless  boy  caught  and  treasured  every 
word.  He  noted  that  the  stories  said  that  the 
mighty  men  of  early  days  were  armed  only  with 
clubs.  He  mused  on  this  fact,  and  determined  to 
make  himself  such  a  weapon.     So  he  fashioned  a 

M 


ISH'-I-BUZ-ZHI 

four-sided  club,  practised  with  it  in  secret,  and 
kept  it  constantly  with  him.  He  was  well  laughed 
at  because  he  clung  always  to  his  club  and  would 
not  learn  the  use  of  the  bow;  but  he  kept  his  own 
counsel,  and,  as  the  years  went  on,  no  one  knew 
that  the  Sparrow-hawk  had  talked  to  him  in  a 
vision,  and  that  he  had  become  possessed  of  two  of 
its  sacred  feathers. 

"One  day  when  Ish'-i-buz-zhi  had  grown  to  be  a 
man,  he  heard  a  group  of  warriors  discussing  plans 
for  an  expedition  against  a  tribal  enemy.  He  de- 
termined to  go  with  them ;  but  he  said  nothing,  and 
silently  watched  the  men  depart.  That  night  he 
stole  away  and  followed  the  trail  of  the  warriors. 
In  the  morning  one  of  the  servants  of  the  war  party 
discovered  him  and  reported  to  the  Leader,  who 
ordered  that  he  be  brought  in.  When  the  men  saw 
that  it  was  Ish'-i-buz-zhi,  they  joked  him,  and  asked 
why  he  who  cared  only  for  the  company  of  old 
women  had  come  to  them ;  but  the  Leader  rebuked 
the  warriors  and  received  the  youth  kindly,  and, 
when  he  found  that  the  young  man  was  not  properly 
provided  with  clothing,  bade  his  followers  to  fit  him 
out  from  their  own  supplies.  They  obeyed,  and  they 
also  made  him  a  bow  of  ash  and  gave  him  some  arrows. 

15 


INDIAN    STORY  AND    SONG 

**  After  many  days'  travel  the  party  drew  near  to 
the  enemy.  A  scout  discovered  their  camp  and  re- 
ported having  seen  one  of  their  men.  At  once  the 
warriors  prepared  for  battle,  putting  on  the  sacred 
paint  and  divesting  themselves  of  unnecessary  gar- 
ments, which  they  handed  over  to  Ish'-i-buz-zhi  to 
take  care  of  during  the  fight.  But  the  young  man 
had  his  own  plans,  and  went  to  the  Leader  and  asked 
permission  to  go  and  look  at  the  enemy.  With 
many  cautions  not  to  give  an  alarm  and  prevent  sur- 
prise, the  Leader  consented,  and  off  Ish'-i-buz-zhi 
started. 

*' Catching  sight  of  the  enemy,  he  threw  away 
his  bow,  and,  armed  only  with  his  club,  rushed 
suddenly  upon  the  foremost  man,  overthrew  and 
killed  him.  When  the  war  party  came  upon  the 
scene,  they  saw  with  amazement  what  he  had  done, 
—  how  by  the  might  of  his  single  arm  he  had  killed 
the  Leader  of  the  enemy  and  scattered  his  warriors. 

**0n  the  return  of  the  Omaha  men  to  their  village 
the  Herald,  according  to  custom,  proclaimed  the 
deed  of  Ish'-i-buz-zhi.  The  old  mother  sitting  in 
her  tent  heard  his  words,  and  called  to  her  husband: 

"  *What  is  this  that   I  hear.^     Go  you  out  and 

learn  the  truth. ' 

i6 


ISH'-I-BUZ-ZHI 

*'  *It  is  only  their  ridicule  of  our  boy,'  said  the 
old  man,  loath  to  stir. 

*'  The  Herald  cried  again,  and  the  old  man  arose 
and  stood  at  the  door  of  the  tent.  Then  of  a  truth 
he  learned  that,  single-handed,  his  son  had  van- 
quished the  enemy.  Again  and  again  did  Ish'-i- 
buz-zhi  join  war  parties,  and  he  was  always  the 
foremost  to  meet  the  enemy  and  to  scatter  them 
with  his  club. 

"Many  tales  are  told  of  him  ;  for  he  was  fond  of 
joking,  and  was  often  absent-minded.  It  is  said 
that  his  wife  was  skilled  in  embroidery,  and  would 
decorate  his  moccasins  with  fine  porcupine  quill 
work;  and  it  disturbed  her  to  see  him  put  them  on 
to  go  out  of  a  morning  when  the  dew  was  on  the 
grass.  So  she  took  him  to  task  for  his  thoughtless- 
ness. 

** 'While  the  grass  is  wet,'"  said  she,  **  *carry 
your  moccasins  in  your  belt.  * 

**He  obeyed;  but  he  forgot  to  put  them  on  when 
the  grass  was  dry,  and  came  home  with  feet  bruised 
and  sore,  and  his  moccasins  still  in  his  belt. 

"But  these  peculiarities  no  longer  provoked  ridi- 
cule, as  when  Ish'-i-buz-zhi  was  a  boy;  for  as  a  man, 
generous  and  strong,  he  was  beloved  by  the  people. 

17 


DANCE   SONG.    (Ichibuzzhi.) 

Omaha.     He-dhU'Shha, 

Harmonized  by  Prof.  J.  C.  Fillmork. 

Presto.    Light  and  Spirited. 


^ 


T^r^ 


y    tt    P- 


?-^-F-Ht^^ 


Ni  -  ka    wi  -  ta     wa-gun-dha  ti  -  be  -  no, 

A  A  A  A  A  A 


/V<f.     Lightly,  but  with  Emphasis.     :}c  /V^. 


i^^-H-^tiri^-q=l^ 


Ni-kawi-ta    wa-gun-dha    ti- be-no,      Ni-ka  wi-ta 


T'^^. 


*,y 


P^rtli  '^^M 


wa-gun-dha     ti-be-no,       Ni-ka  wi-ta  wa-gun-dha 


DANCE   SONG. 

Pa  rs  ^f 


Ich  -  i-buz-zhi  dha-da  e  dhin-ke       de,       Ni-ka  wi-ta 


^ 


^ 


m 


$ 


w=r^ 


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^ 


wa-gun-dha      ti- be-no,        Ni-ka  wi-ta  wa-gun-dha 


:fe    Sr^*    Ped. 


P^^^^^fc 


ti-be-no,      Ni-ka  wi-ta  wa-gun-dha     ti-be-no. 

A  A  A  A  A  A 


INDIAN    STORY  AND    SONG 

The  child  who  had  feasted  on  tales  of  the  old 
heroes  had  in  his  manhood  reproduced  their  brave 
deeds.  So  it  came  to  pass  that,  when  danger  threat- 
ened, it  was  to  him  that  the  people  ran  for  help; 
and  he  never  failed  them." 

The  song  refers  to  one  of  these  appeals.  An 
alarm  arose,  and  to  Ish'-i-buz-zhi,  sitting  in  his  tent, 
the  people  cried,  *'The  enemy  comes  and  calls  for 
you,  Ish'-i-buz-zhi. " 


20 


STORY   AND   SONG   OF   THE   LEADER. 

After  many  years  of  warfare  the  Omaha  tribe 
made  peace  with  the  Sioux.  One  bright  autumn 
day  it  was  suggested  that,  in  order  to  show  their 
friendly  feeling,  a  party  of  Omahas  should  visit  the 
Sioux  tribe.  So  the  men  and  women  made  every- 
thing ready  for  the  long  journey. 

Tent  covers  and  camp  belongings  were  fastened 
on  trailing  travaux,  ponies  were  laden  with  gayly 
painted  parfleche  packs,  containing  the  fine  gar- 
ments of  the  people  and  the  gifts  to  be  presented  to 
the  Sioux.  Soon  the  motley-coloured  line  could  be 
seen  winding  over  the  rolling  prairie.  The  young 
men,  mounted  on  their  spirited  horses,  dashed  off, 
racing  with  each  other  to  attract  the  attention  of  the 
maidens,  who  could  only  follow  with  their  eyes,  so 
closely  guarded  were  they  by  the  elder  women. 
Old  men  jogged  along  in  groups,  talking  to  each 
other,  their  lariats  dragging  through  the  grass,  now 
and  then  snapping  off  the  head  of  a  wild  flower  or 
catching  in  a  tangle  of  weeds.  Boys  made  the  air 
ring  with  their  laughter,  as  they  slipped  off  their 
ponies  to  shoot  their  small  arrows  at  some  imagi- 
nary game.  It  was  a  scene  full  of  careless  pleasure 
and  happy  movement  under  a  cloudless  sky. 

21 


INDIAN   STORY  AND   SONG 

When  nearing  the  Sioux  village,  the  people 
paused  beside  a  stream  to  wash  off  the  dust  of 
travel,  to  put  on  their  gayest  attire,  and  to  newly 
paint  their  hair  and  faces.  The  prairie  was  their 
vast  dressing-room,  and  friendly  eyes  were  their 
mirrors.  Young  men  decked  each  other,  and  girls 
slyly  put  on  touches  of  finery.  Every  one  was  mov- 
ing about  and  busy,  from  the  oldest  man  to  the 
youngster  captured  from  play  to  be  washed  and 
painted.  At  last  the  transformation  was  complete, 
from  the  dun,  every-day  colour  to  the  brilliant  hues 
of  a  gala  time.  Now  messengers  were  despatched 
with  small  bunches  of  tobacco,  tied  up  in  bits  of 
bladder  skin  (in  lieu  of  visiting  cards),  to  give 
notice  of  the  visiting  party's  approach. 

Suddenly  some  one  asked,  '*What  if  the  Sioux 
do  not  believe  we  are  coming  in  peace,  and  should 
capture  our  messengers  and  attack  us  as  we  come 
near  with  our  women  and  children  ?  " 

Such  a  reception  had  not  before  been  thought  of; 
and  silence  fell  upon  the  people  as  they  halted, 
under  the  gloom  of  the  apprehension.  At  length 
the  Leader  stood  up  and  said, —  *'We  have  made 
peace,  we  have  come  in  good  faith,  we  will  go 
forward,  and  Wa-ko;^'-da  shall  decide  the  issue." 


STORY  AND   SONG   OF  THE   LEADER 

Then  he  struck  up  this  song  and  led  the  way ;  and, 
as  the  men  and  women  followed,  they  caught  the 
tune,  and  all  sang  it  as  they  came  near  the  Sioux 
village. 

In  the  words  the  Leader,  as  representing  the 
Omahas,  speaks:  **I  am  advancing.  I  am  moving 
toward  you.  Behold  me,  young  men,  warriors  of 
the  Sioux!  Here  I  stand.  Wa-ko«'-da  alone  de- 
cides the  destinies  of  men." 

The  visitors  met  with  a  welcome,  and  the  breach 
between  the  two  tribes  was  healed  for  many  a  long 
day. 


23 


SONG   OF  THE   LEADER.     A  Rest  Song. 

Omaha.    He-dhu^-shka. 
Martial.    M.  M.  \=  (>i. 

y  \    \      1^  1    ^  1    j^  1^-^  \, — .  ^  ^ 


life 


m^ 


f 


ff-r 


Shu-b'dhe  adhin-he  on-don-ba   i     ga   ho. 


Shu- 


s 


gi§ 


a- 


p^^. 


i 


^^ 


N    i<^:r 


^ 


BE5 


i=:3i 


b'dhe  adhin-he  on-don-ba      i     ga     ho. 


a^. 


^ 


^^ 


^ 


i* — V- 


*  />««; 


i 


fF2y//  spirit. 


5£K 


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hin 


W>— jV 


m 


^s 


Jsdi 


i 


ff'///^  Solemnity. 


■\r^=^ 


W^H 


^ 


r^T^^-^t^^ 


he. 


V 

Wa 


W 


^ 


Icon  -  da       hi  -  dhe-g'dhon 


^ 


*       Z'^^. 


SONG   OF   THE   LEADER. 


i^ 


:£ 


.K..N 


i 


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be    dho      he dhoe.  On  -  don     -     ba      ga 


m 


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33 


i 


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^^ 


"*      Z'^^. 


t=:iM 


i 


s^ 


Sha-on-zhin  -  ga     ha     dhe  -  dhu 


he. 


^ 


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^ 


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^=^ 


/'(fdT. 


i 


t 


liz^i* 


J: 


anon-zhin  on  -  don     -     ba     ga       he 


Wa- 


=1= 

f 


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:i^* 


^3 


fei 


i 


5r^ 


/•^f/. 


i^«//  fl«^  Solemn. 


^^^^^^ 


kon  -  da    hi  dhe-g'dhon  be  dho    he 


3F^ 


^s==i 


I 


THE   OMAHA   TRIBAL   PRAYER. 

According  to  the  Omaha  idea,  a  child  during  its 
infancy  had  no  recognised  existence  as  an  individual 
or  distinct  member  of  the  tribe,  but  remained  as  a 
part  of  its  parents.  When  it  could  walk  alone,  at 
about  three  years  of  age,  it  was  initiated  into  the 
tribal  organisation  through  certain  religious  rites; 
but  its  responsible  and  individual  life  did  not  begin 
until  its  mind  had  ** become  white,"  as  the  Indians 
say.  This  expression  referred  to  the  dawn,  to  the 
passing  of  night  into  day,  and  represented  the  com- 
ing of  the  child  out  of  the  period  where  nothing  was 
clearly  apprehended  into  a  time  when  he  could 
readily  recall  past  events  with  their  distinctness  of 
detail.  This  seeming  mastery  of  the  minutiae  of 
passing  occurrences  indicated  that  a  stage  of  growth 
had  been  reached  where  the  youth  could  be  inducted 
into  the  religious  mysteries  through  a  distinct 
personal  experience  acquired  in  the  rite,  No?^'- 
zhi«-zho;^, —  a  rite  which  brought  him  into  what 
was  believed  to  be  direct  communication  with  the 
supernatural  powers. 

In  preparation  for  this  rite  the  Omaha  youth  was 
taught  the  Tribal  Prayer.     He  was  to  sing  it  during 

26 


THE    OMAHA   TRIBAL   PRAYER 

the  four  nights  and  days  of  his  vigil  in  some  lonely 
place.  As  he  left  his  home,  his  parents  put  clay 
on  his  head;  and,  to  teach  him  self-control,  they 
placed  a  bow  and  arrows  in  his  hand,  with  the  in- 
junction not  to  use  them  during  his  long  fast,  no 
matter  how  great  the  temptation  might  be.  He  was 
bidden  to  weep  as  he  sang  the  prayer,  and  to  wipe 
his  tears  with  the  palms  of  his  hands,  to  lift  his  wet 
hands  to  heaven,  and  then  lay  them  on  the  earth. 
With  these  instructions  the  youth  departed,  to  enter 
upon  the  trial  of  his  endurance.  When  at  last  he 
fell  into  a  sleep  or  trance,  and  the  vision  came,  of 
bird,  or  beast,  or  cloud,  bringing  with  it  a  cadence, 
this  song  became  ever  after  the  medium  of  commu- 
nication between  the  man  and  the  mysterious  power 
typified  in  his  vision;  and  by  it  he  summoned  help 
and  strength  in  the  hour  of  his  need. 

In  this  manner  all  mystery  songs  originated,  —  the 
songs  sung  when  healing  plants  were  gathered  and 
when  the  medicine  was  administered;  when  a  man 
set  his  traps  or  hunted  for  game;  when  he  desired 
to  look  into  the  future  or  sought  supernatural  guid- 
ance, or  deliverance  from  impending  danger. 

The  Tribal  Prayer  was  called  in  the  Omaha 
tongue  Wa-ko«'-da  gi-kon:  Wa-ko«'-da,  the  power 

27 


INDIAN   STORY  AND    SONG 

which  could  make  or  bring  to  pass;  gi-ko;/,  to  weef 
from  conscious  insufficiency,  or  the  longing  for 
something  that  could  bring  happiness  or  prosperity. 
The  words  of  the  prayer,  Wa-ko«'-da  dhe-dhu  wah- 
pa'-dhi«  a-to;^'-he,  literally  rendered,  are,  Wa-ko«'- 
da,  here  needy  he  stands ;  and  I  am  he. 

This  prayer  is  very  old.  Its  supplicating  ca- 
dences echoed  through  the  forests  of  this  land  long 
before  our  race  had  touched  its  shores,  voicing  a 
cry  recognised  by  every  human  heart. 


$ 


THE   OMAHA   TRIBAL   PRAYER. 

Harmonized  by  Prof.  J.  C.  Fillmore. 

Slow.     Grave,    Solemn. 
vtp  . 


/?v  *Cv  /^^ 


t=^- 


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♦ 


STORY   AND   SONG   OF   THE   BIRD'S 
NEST.* 

Scattered  through  an  elaborate  ritual  and  relig- 
ious ceremony  of  the  Pawnee  tribe  are  little  par- 
ables in  which  some  natural  scene  or  occurrence 
serves  as  a  teaching  to  guide  man  in  his  daily  life. 
The  following  is  an  example. 

The  words  of  the  song  (**the  sound  of  the 
young  ' ')  are  purposely  few,  so  as  to  guard  the  full 
meaning  from  the  careless  and  to  enable  the  priest 
to  hold  the  interpretation  as  a  part  of  his  sacred 
treasure.  They  are  sufficient,  however,  to  attract 
the  attention  of  the  thoughtful ;  and  such  a  one  who 
desired  to  know  the  teaching  of  the  sacred  song 
could  first  perform  certain  initiatory  rites  and  then 
learn  its  full  meaning  from  the  priest. 

'*One  day  a  man  whose  mind  was  open  to  the 
teaching  of  the  gods  wandered  on  the  prairie.  As 
he  walked,  his  eyes  upon  the  ground,  he  spied  a 
bird's  nest  hidden  in  the  grass,  and  arrested  his 
feet  just  in  time  to  prevent  stepping  on  it.  He 
paused  to  look  at  the  little  nest  tucked  away  so  snug 

*  An  old  priest  of  the  rite  gave  me  the  story  and  song  through  Mr,  James  R. 
Murie,  an  educated  Pawnee,  and  they  are  here  for  the  first  time  made  public. 

30 


THE   BIRD'S   NEST 

and  warm,  and  noted  that  it  held  six  eggs,  and  that 
a  peeping  sound  came  from  some  of  them.  While 
he  watched,  one  moved;  and  soon  a  tiny  bill  pushed 
through  the  shell,  uttering  a  shrill  cry.  At  once 
the  parent  birds  answered,  and  he  looked  up  to  see 
where  they  were.  They  were  not  far  off,  and  were 
flying  about  in  search  of  food,  chirping  the  while  to 
each  other  and  now  calling  to  the  little  one  in  the 
nest. 

**The  homely  scene  stirred  the  heart  and  the 
thoughts  of  the  man,  as  he  stood  there  under  the 
clear  sky,  glancing  upward  toward  the  old  birds  and 
then  down  at  the  helpless  young  in  the  nest  at  his 
feet.  As  he  looked,  he  thought  of  his  people,  who 
were  so  often  careless  and  thoughtless  of  their  chil- 
dren's needs;  and  his  mind  brooded  over  the  matter. 
After  many  days  he  desired  to  see  the  nest  again. 
So  he  went  to  the  place  where  he  had  found  it ;  and 
there  it  was,  as  safe  as  when  he  left  it.  But  a 
change  had  taken  place.  It  was  now  full  to  over- 
flowing with  little  birds,  who  were  stretching  their 
wings,  balancing  on  their  small  legs,  and  making 
ready  to  fly  ;  while  the  parents  with  encouraging 
calls  were  coaxing  the  fledglings  to  venture  forth. 

**  *Ah ! '  said  the  man,  *if  my  people  would  only 
31 


INDIAN    STORY  AND    SONG 

learn  of  the  birds,  and,  like  them,  care  for  their 
young  and  provide  for  their  future,  homes  would  be 
full  and  happy,  and  our  tribe  be  strong  and  pros- 
perous. 

**When  this  man  became  a  priest,  he  told  the 
story  of  the  bird's  nest  and  sang  its  song;  and  so  it 
has  come  down  to  us  from  the  days  of  our  fathers.  *  * 


SONG   OF   THE   BIRD'S   NEST. 

Pawnee. 
Transcribed  from  Graphophone  and  harmonized  by  Edwin  S.  Tracy. 

Introduction.    | 


^ 


^^^^ 


A=T 


Ho-o  ...  Ha -re       ha -re       re       ha  -  re 


S 


t 


Pe'df: 


FFPfS 


I      M  ^x  fT 


^m 


^^^^=^^=^^^^=^ 


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Ha  -  re       ha  -  re        e       ha  -  re 


Re        wha  -  ka 


m 


r=f=^ 


^ 


-b'— -V 


i 


A=^: 


4^=:t 


^: 


atzztfat^ 


ha -re       re       ha -re,       wha-ka     ha -re      re      ha 


^Fr 


^ 


4?^ 


Wr 


u 


$ 


m 


i 


^£^3 


ir* 


^^r        f         f-        f-:  f  « 

re         Re        wha  -  ka      ha  -  re       re       ha  -  re. 


i^^^^^^^^^r^ii 


A  TRYSTING   LOVE-SONG. 

One  of  the  few  delights  of  life  in  camp  is  the 
opportunity  the  tent  affords  of  ready  access  to  the 
open  air.  There  is  no  traversing  of  stairways,  no 
crossing  of  halls,  and  no  opening  of  reluctant  doors, 
but  only  the  parting  of  the  canvas,  and  our  world  is 
as  wide  as  the  horizon  and  high  as  the  heavens. 
Even  when  the  tent  door-flap  is  snugly  closed, 
nature  is  not  wholly  shut  out.  Often  I  have  lain 
looking  up  at  the  stars  as  they  passed  slowly  across 
the  central  opening,  and  listened  to  the  flight  of  the 
birds  as  they  travelled  northward  at  the  coming  of 
spring.  And  I  have  watched  the  birth  of  many  a 
day,  from  the  first  quivering  primrose  hue  to  the 
full  flush  and  glow  of  rosy  colour,  and  then  the  stir- 
ring breeze,  the  waking  leaves,  and  the  call  of  the 
birds  breaking  into  song. 

One  morning  I  rose  from  my  blankets  and  stepped 
out  under  the  broad  dome  of  the  sky,  while  all  about 
me  in  their  shadowy  tents  the  people  slept.  I  wan- 
dered toward  a  glen,  down  which  the  water  from  a 
little  spring  hurried  to  the  brook.  As  I  sat  among 
the  fresh  undergrowth,  I  watched  the  stars  grow  dim 
and  the  thin  line  of  smoke  rise  from  the  tents,  tell- 

34 


A  TRYSTING   LOVE-SONG 

ing  that  the  mother  had  risen  to  blow  the  embers  to 
a  blaze  and  to  put  another  stick  or  two  upon  the  fire. 

As  I  sat,  thinking  a  multitude  of  thoughts,  I 
heard  a  rustling  upon  the  hill  opposite  me.  Then 
there  was  silence,  quickly  broken  by  movements  in 
another  direction;  while  from  the  hill  came  the 
clear  voice  of  a  young  man  singing.  In  a  moment 
more  two  women,  whom  I  recognised  as  aunt  and 
niece,  appeared  at  the  spring,  the  one  elderly,  the 
other  young  and  pretty;  but  the  singer  was  still 
invisible.  The  cadences  of  the  song  were  blithe 
and  glad,  like  the  birds  and  the  breezes  laden  with 
summer  fragrance.  The  words,  *'I  see  them  com- 
ing!" carried  a  double  meaning.  The  girl  for 
whom  he  had  waited  was  in  truth  coming,  but  to 
the  singer  was  also  coming  the  delight  of  growing 
love  and  abundant  hope. 

The  women  filled  their  water  vessels.  The 
elder  took  no  note  of  the  song,  but  turned  steadily 
toward  the  home  path.  The  eyes  of  the  maiden 
had  been  slyly  searching  the  hillside  as  she  slowly 
neared  the  spring  and  dipped  up  the  sparkling 
water.  Now,  as  the  aunt  walked  away,  the  song 
ceased;  and  a  light  rustling  followed,  as  the  lover, 
bounding  down  the  hill,  leaped  the  brook  and  was 

35 


TRYSTING   LOVE   SONG. 

Omaha. 
Harmonized  by  Prof.  J.  C,  Fillmork. 


i 


Light  and  Flowingly. 


.^ 


atzit 


±ZjIL 


SEfcSE 


mf 


Hi     dha 


^Se? 


ho!      Sha 


:i!i4^- 


a    -    ma      wi  un-don- 


4r- 


n- 


-r    t^"—  z 


S^ 


/•<!</; 


*    ftrf. 


ff-,    ^-j*^^^ 

r— 1— 

-^ 

r-^ 

1 — FT 

1 ^ 

^  ^-"^'^  = 

— ^- 

^^^^ 

^ 

_*_J_^ 

5^  -f-^             ^ 

be     a-medho 

he, 

Sha        a    - 

J- 

ma 

wi  un-don- 

-~s — 1 

pf^ 

-J — 1 

fVt ■ 

H>^= 

-yT — 

A  . 

_  _  ] 

\      ^    \ 

/ 

,    1/               1                                 H 

-^<. 

Pp^ 

1 

be      a  -  me  dho     he 


i 


s 


2*=?= 


f  •  T 


Sha 


P 


*        T'^^/. 


ma  wi  un-don 


TRYSTING   LOVE   SONG. 


$ 


-./  e.  1-  ^^ 


i^aa 


? 


? 


43E 


__Ha^^_H- 


be     a  -  me  dho       he  dhoe.     Hi   dha 


ho!      Sha 


IS^ 


3=t 


-=q-4- 


^^S 


Z*^^. 


a 


^ 


i^E^^Jl^^E^S^ 


^ 


a    -    ma     wi  un-don   -   be      a -me  dho    he.        Sha 


AlJ%. 


4= 


»-— 


*     /v^/. 


a    -    ma  wi  un-don     -     be      a   -   me  dho       he. 


^ 


^Jh-JTFi 


^r 


^ 


i 


INDIAN   STORY  AND   SONG 

at  the  side  of  the  girl.  A  few  hasty  words,  a  call 
from  the  aunt,  a  lingering  parting,  and  I  was  alone 
again.  The  brook  went  babbling  on,  but  telling  no 
tales,  the  birds  were  busy  with  their  own  affairs, 
and  the  sunbeams  winked  brightly  through  the 
leaves.  The  little  rift,  giving  a  glimpse  of  the 
inner  life  of  two  souls,  had  closed  and  left  no  out- 
ward sign ;  and  yet  the  difference ! 

There  was  a  measured  thud  upon  the  trail,  and  an 
old  woman  with  stooping  shoulders  passed  down  the 
glen.  As  she  bent  over  the  spring  and  took  her 
water  supply,  I  heard  the  young  man's  voice  in  the 
distance,  singing  his  song  as  he  wended  his  way 
home.  The  old  woman  heard  it,  too.  She  straight^ 
•ened  up  and  looked  steadily  in  the  direction  of  the 
singer,  slowly  shook  her  head,  picked  up  her  water 
vessel,  and  turned  away,  her  crooked  figure  disap- 
pearing in  the  shadows.  Then  I  arose  and  followed 
the  singer,  trying  to  forget  the  warning  shake  of  the 
old  woman's  head. 


38 


STORY   AND   SONG   OF  THE   DEATH- 
LESS  VOICE.* 

ORIGIN    OF    THE    MA-WA'-DA-NI    SOCIETY. 

A  LONG,  long  time  ago  a  large  number  of  war- 
riors, under  the  leadership  of  a  man  noted  through- 
out the  warlike  tribes  for  his  valorous  deeds,  started 
forth  to  harass  and,  if  possible,  to  drive  a  powerful 
people  from  a  territory  which  abounded  in  game. 
This  war  party  was  out  many  days,  had  many  a 
weary  march  in  search  of  the  enemy,  scouring  the 
country  far  and  wide,  keeping  their  scouts  in  the 
front,  rear,  and  flank ;  for  the  leader  was  determined 
not  to  return  to  his  village  without  the  trophies  of 
war. 

They  came  one  day  to  a  large  grove  with  a  clear 
brook  running  through  it.  Here  the  Leader  ordered 
the  camp  to  be  pitched,  that  his  little  army  might 
rest  awhile  and  repair  their  moccasins  and  clothing. 
Sentinels  were  stationed  so  as  to  guard  against 
surprise.  Hunters  were  sent  forth,  and  returned 
laden  with  game. 

Night  came  on.  There  was  no  moon;  and  it  was 
dark,   although  the  stars    shone    brightly.      A  fire 

*The  translation  of  the  story  is  by  Mr.  Francis  La  Flesche. 

39 


INDIAN    STORY  AND    SONG 

blazed  in  the  open  air,  and  the  men  whose  duty  it 
was  to  dress  and  cook  the  meat,  were  moving  about 
the  burning  logs;  while  others  sat  mending  their 
moccasins  by  the  firelight,  listening  to  stories  of 
battles,  marvellous  escapes,  and  strange  adventures. 
Supper  was  cooked,  and  the  meat  was  piled  on 
freshly  cut  grass  spread  upon  the  ground ;  and  near 
by  were  set  the  pots  of  broth  and  the  wooden  bowls 
and  horn  spoons.  The  Leader  was  called  to  perform 
the  usual  sacred  rites  observed  before  the  serving  of 
food;  and  all  the  warriors  gathered  around  the  fire, 
each  one  eager  for  his  portion  of  the  meal.  At 
a  signal  from  the  Leader  every  man  bowed  his  head, 
and  there  was  silence.  Not  a  breath  of  air  was 
stirring.  Now  and  then  could  be  heard  the  far-off 
dismal  howl  of  the  grey  wolf  or  the  cry  of  a  strange 
bird  startled  from  its  nest  by  a  coyote.  Save  from 
these  and  the  crackling  of  the  fire  there  was  still- 
ness in  all  the  surroundings.  The  warriors  had 
made  their  silent  petitions  to  Wako;2'-da,  the 
power  that  moves  all  things.  The  Leader  lifted 
his  head.  Then  from  the  pile  of  meat  he  took  a  bit 
and  raised  it  toward  the  sky,  as  an  offering  to  that 
mysterious  power,  when  suddenly  the  stillness  was 
broken  and  the    ceremony   interrupted  by   a    clear 

40 


THE   DEATHLESS   VOICE 

voice  bursting    into  song,    the  echoes  in  the  hills 
and  valleys  catching  and  repeating  the  strain. 

Each  warrior  involuntarily  grasped  his  bow. 
The  Leader,  ever  keen  and  alert,  exclaimed  in  a 
hoarse  whisper,  **The  fire!  the  fire!  "  Immediately 
many  hands  were  rubbing  the  flaming  wood  into 
the  earth.  Commands  were  hastily  given  by  the 
Leader;  and  the  warriors,  with  palpitating  hearts, 
started  out  to  form  a  ring  around  the  spot  whence 
the  thrilling  sounds  came.  The  voice  sang  on. 
The  ring  grew  smaller  and  smaller  until  in  an  open 
space  the  shadowy  form  of  a  tree  loomed  up  before 
the  advancing  warriors.  No  escape  was  now  pos- 
sible for  the  singer,  yet  the  song  went  on  without 
hesitancy.  The  tree  was  now  clearly  visible.  The 
song  came  to  a  close,  and  the  echo  died  away  in  the 
distance.  The  men  kept  on  toward  the  tree,  with 
bows  drawn  and  arrows  strung.  No  form  was  seen 
running  around  inside  the  ring,  seeking  an  opening 
for  escape ;  but,  lo !  at  the  foot  of  the  tree  lay  scat- 
tered the  whitened  bones  and  the  grinning  skull  of 
a  man.  Death  had  claimed  the  body  of  this  warrior 
and  compelled  its  return  to  dust,  but  had  failed  to 
silence  the  voice  of  the  man  who,  when  living,  had 
often  defied  death. 

41 


SONG   OF  THE   DEATHLESS  VOICE. 

Dakota. 
Majestic  and  Martial.  Harmonized  by  Edwin  S.  Tracy. 


Hi         dho   ho  .  .  .      hi  .  .^ano     h^^i  dho 


dho   hi 


Ben  Sostenuto. 


r-  f. 


fl^-r^ 


TA 


SONG   OF  THE  DEATHLESS  VOICE. 


$ 


§A 


^^ 


trt 


^3 


hi  .^ano   ho    i    dha    i 


/ 

Ah   hi  dho   hi  dho   h 
Sostenuto. 


^^^ 


£^ 


i 


tt 


^^-- 


-^-^ 


^ 


Ped.\ 


ah  hi  .  .  dha  ha      i     dha  ha 


^ 


% 


^- 


Ped\ 


i 


** 


I 


r 


^ 


P-A- 


1=3 


5t   5t:i 


dha  ha 


ha    hi     dha     e     dho  he  .  . 


p- 
dho. 


«^ 


^ 


iS 


S 


#-^ 


S:± 


f 


r^-^. 


INDIAN    STORY  AND   SONG 

The  Leader,  looking  around  upon  his  followers, 
lifted  his  voice  and  said  :  — 

"This  was  a  warrior,  who  died  the  death  of  a 
warrior.     There  was  joy  in  his  voice !  " 

The  men  to  whom  the  strange  experience  nar- 
rated in  this  story  came,  afterward  banded  them^ 
selves  together  in  order  the  better  to  serve  their 
people,  to  present  to  the  young  men  of  the  tribe 
an  example  of  generosity  in  time  of  peace  and  of 
steadfast  valour  on  the  field  of  battle.  They  kept 
together  during  their  lives  and  added  to  their  num- 
ber, so  that  the  society  they  formed  continued  to 
exist  through  generations. 

The  story  and  song  which  has  been  handed  down 
through  all  these  years  as  the  inspiration  of  the 
founders  of  the  Ma-wa'-da-ni  Society,  embodies  a 
truth  honoured  among  all  peoples,  —  that  death  can- 
not silence  the  voice  of  one  who  confronts  danger 
with  unflinching  courage,  giving  his  life  in  the 
defence  of  those  dependent  upon  his  prowess. 
Such  a  man  might  fall  in  the  trackless  wilderness, 
and  his  bones  lie  unhonoured  and  unburied  until 
they  blanched  with  age :  still  his  voice  would  ring 
out  in  the  solitude  until  its  message  of  courage  and 
joy  should  find  an  echo  in  the  heart  of  the  living. 

44 


STORY  AND   SONG   OF  ZOiV-ZI'-MOiV-DE. 

Victory  songs,  of  which  this  is  one,  were  sung 
when  the  people  with  rhythmic  steps  celebrated 
ceremonially  the  return  of  victorious  warriors.  Be- 
cause of  its  peculiar  accessory,  the  scalp,  this  cere- 
mony has  been  called  by  us  the  ** scalp  dance,"  al- 
though no  Indian  so  designates  it. 

The  contrast  between  the  sentiment  of  this  story, 
teaching  respect  and  honour  to  the  old,  and  the  cere- 
mony, as  we  baldly  see  it,  is  startling.  But  it  is 
with  the  Indian  as  with  ourselves :  the  cruelties  of 
war  and  the  gentler  emotions  are  often  intertwined, 
the  latter  surviving  and  lifting  up  a  standard  for 
emulation,  the  former  passing  away,  dying  with  the 
instigating  passion.  Among  the  many  hundreds  of 
Indian  songs  I  have  known,  none  commemorate  acts 
of  cruelty. 

Years  ago  the  Omaha  tribe  and  the  Sioux  met 
while  searching  for  a  buffalo  herd;  and,  as  was 
usual,  a  battle  ensued,  for  each  tribe  was  determined 
to  drive  the  other  from  the  region  of  the  game. 
Although  the  Sioux  outnumbered  the  Omaha,  the 
latter  remained  victors  of  the  field. 

An  old  Omaha,  interested  to  observe  how  some  of 
45 


ii 


ZOiV-ZI-MOiV^-DE. 

Omaha. 
Harmonized  by  Prof.  J.  C.  Fillmore. 

Spirited.    M.  M.  J\  =  iS2. 


3llI3t 


^-J^ 


k±i±4=f: 


=p=tp 


-^ 


f — r- 

ye    ha     he 


mf 

Ye   ha      he  ya  e     he  dha 

Double  Drum  Beat. 


i 


^ 


a 


t#4 


5t=J: 


3*^ 


S^ 


tit 


* 


ya  e  he  dha  ah  ha   ya  e  he  dha  ye  ha  he 

A  ....  -  A  A 

^      P      ^  P 


S^MES^E^ 


Stfc 


I      I  I 


t=t=x 


-»-H*--+ 


» »- 


-I — I » 1 


^^1 


-^-=1- 


A-^ 


s^a 


-.■i=i=t- 


■m — #- 


m 


ya  e     he  dha       dha   ha  dhoe.     Zo«  -  zi  -  mo»-de 


:^^ 


J^S^^^ 


^^ 


ZOiVT-ZI-MOiV^-DE. 


±^5 


M=^ 


ma  sha  e  dhe. 


Sii 


-  '    r "I" 

Ah  ha       ya  e     he  dha 


g^FFIf 


dt^zt 


Coined. 


% 


^^: 


i:^ 


^ 


n 


e     na     h 


he 


-^— ^ 


-» — »- 


ya   e    ha  dha        dha  ha  dho. 


i— i     i    I   i     H grrtrM— f— f 


^^^ 


m 


I 


INDIAN   STORY  AND    SONG 

the  tribe  would  conduct  themselves  in  their  first 
battle,  made  his  way  toward  the  scene  of  conflict. 
It  chanced  that  just  as  a  Sioux  warrior  had  fallen, 
pierced  by  an  arrow,  and  the  Omaha  men  were 
rushing  forward  to  secure  their  war  honours,  this 
old  man  was  discovered  coming  up  the  hill,  aided 
by  his  bow,  which  he  used  as  a  staff.  One  of  the 
young  warriors  called  to  his  companions :  — 

**Hold!  Yonder  comes  Zon-zV -mon-de,  let  us 
give  him  the  honours.  " 

Then,  out  of  courtesy  to  the  veteran,  each  young 
warrior  paused  and  stepped  aside,  while  the  old 
man,  all  out  of  breath,  hastened  to  the  fallen  foe. 
There  he  turned  and  thanked  the  young  men  for  per- 
mitting him,  whom  age  had  brought  to  the  edge  of 
the  grave,  to  count  yet  one  more  honour  as  a  war- 
rior. * 

The  words  of  the  song  give  the  exclamation  of 
the  generous  youth  :  ^ ' Zon-zi' -mon-dQ  comes!  Stand 
aside!     He  comes." 

*  To  be  the  first  to  touch  the  body  of  an  enemy  counts  as  a  war  honoiir. 


AN    OMAHA    LOVE-SONG. 

The  words  of  many  love-songs  refer  to  the  dawn, 
the  time  of  the  day  when  they  are  usually  sung;  but 
this  reference  is  not  a  literal  one.  It  figures  the 
dawn  of  love  in  the  breast  of  the  singer.  The  Ind- 
ian stands  so  close  to  Nature  that  he  sees  his  own 
moods  reflected  or  interpreted  in  hers. 

The  Indian  words  of  this  song,  freely  translated, 

are:  — 

As  the  day  comes  forth  from  night 

So  I  come  forth  to  seek  thee. 
Lift  thine  eyes  and  behold  him 

Who  comes  with  the  day  to  thee. 

Miss  Edna  Dean  Proctor  has  rendered  into  charm- 
ing verse  the  scene  and  the  feeling  of  the  hour,  giv- 
ing us  an  Indian  love-song  in  its  entirety.  By  her 
courtesy  I  am  able  to  reproduce  here  her  poem  writ- 
ten some  years  ago,  on  hearing  the  melody  which  I 
had  then  recently  transcribed  during  one  of  my 
sojourns  among  the  Omaha  Indians:  — 

Fades  the  star  of  morning, 

West  winds  gently  blow, 
Soft  the  pine-trees  murmur, 

Soft  the  waters  flow. 
49 


LOVE   SONG. 


.l^tlJL 


Omaha. 
Harmonized  by  Prof.  J.  C.  Fillmore. 

'        I  J h-\ fv-^, 


m 


iS^t 


^i=r:i: 


iJ^i^ 


(9- 


-Sl 


■f- 


^s 


Fades  the  star  of  morn-ing,      West  winds  gently  blow 


-f5>- 


S3 


X:^ 


i 


^tt^ 


}^ 


I 


P^ 


:^=zz^~Fg 


••— #-^ 


&^-^ 


--(S^- 


:2 


j2- 


^ 


^ 


gently  blow,  gently  blow.  Soft  the  pine  trees  murmur, 


i 


^ 


jfca 


a 


*5 


a 


i 


i=f;f? 


^^^^ 


M 


2 


Muf  ♦  ^    ^  zjt=z^ 


P 


Soft  the  wa-ters  flow,       Soft  the  wa-ters       flow, 

^  I 


1^ 


3tlJt 


4. 


I 


mm 


i 


'&^ 


E^2E? 


P 


Soft     the    wa  -  ters     flow. 


Lift  thine  eyes,  my 


LOVE    SONG. 


$ 


^ 


f 


:j:  5t  5t    :it 

maid-en.      To   the  hill  -  fop 


nigh. 


^^ 


SS3f 


^=^- 


T 


r 


-G 


i 


d=i 


i 


a^3 


?^ 


v-^ 


i^ 


^#==2: 


^ 


Night  and  gloom  will  van  -  ish     When  the  pale  stars  die, 


a 


A=q: 


A=q==q: 


:^it=it 


'•— 25* 3^ 


P:i:: 


When  the  pale      stars   die,    When  the  pale  stars  die. 

I    ^  I ^ 


i^ 


iS 


:2 


i^ 


I 


MeS 


f==r^^ 


^*-*    .Hr 


Lift  thine  eyes,  my  maiden.  Hear  thy    lov  -  er's  cry. 


i 


^H^ 


-8=g 


i^ 
r 


I 


■ST 


INDIAN    STORY  AND    SONG 

Lift  thine  eyes,  my  maiden, 

To  the  hill-top  nigh. 
Night  and  gloom  will  vanish 

When  the  pale  stars  die ; 
Lift  thine  eyes,  my  maiden, 

Hear  thy  lover's  cry! 

From  my  tent  I  wander, 

Seeking  only  thee, 
As  the  day  from  darkness 

Comes  for  stream  and  tret. 
Lift  thine  eyes,  my  maiden, 

To  the  hill-top  nigh ; 
Lo  !  the  dawn  is  breaking, 

Rosy  beams  the  sky  ; 
Lift  thine  eyes,  my  maiden, 

Hear  thy  lover's  cry  ! 

Lonely  is  our  valley. 

Though  the  month  is  May ; 
Come  and  be  my  moonlight, 

I  will  be  thy  day ! 
Lift  thine  eyes,  my  maiden, 

Oh,  behold  me  nigh  ! 
Now  the  sun  is  rising. 

Now  the  shadows  fly ; 
Lift  thine  eyes,  my  maiden, 

Hear  thy  lover's  cry ! 


THE  STORY  AND  SONG  OF  THE  WREN.* 

This  little  parable  occurs  in  the  ritual  of  a  relig- 
ious ceremony  of  the  Pawnee  tribe.  The  song  has 
no  words,  except  a  term  for  wren,  the  vocables  being 
intended  only  to  imitate  the  notes  of  the  bird, 
nevertheless,  one  can  trace,  through  the  variation 
and  repetition  of  the  musical  motive,  the  movement 
of  the  gentle  thoughts  of  the  teacher  as  given  in  the 
story  which  belongs  to  the  song. 

**A  priest  went  forth  in  the  early  dawn.  The  sky 
was  clear.  The  grass  and  wild  flowers  waved  in  the 
breeze  that  rose  as  the  sun  threw  its  first  beams  over 
the  earth.  Birds  of  all  kinds  vied  with  each  other, 
as  they  sang  their  joy  on  that  beautiful  morning. 
The  priest  stood  listening.  Suddenly,  off  at  one 
side,  he  heard  a  trill  that  rose  higher  and  clearer 
than  all  the  rest.  He  moved  toward  the  place 
whence  the  song  came,  that  he  might  see  what  man- 
ner of  bird  it  was  that  could  send  farther  than  all 
the  others  its  happy,  laughing  notes.  As  he  came 
near,  he  beheld  a  tiny  brown  bird  with  open  bill,  the 
feathers  on  its  throat  rippling  with  the  fervour  of  its 
song.     It  was   the   wren,    the   smallest,    the    least 

*  Both  story  and  song  were  recited  to  me  by  an  old  priest  of  the  rite,  and  were 
interpreted  by  Mr.  James  R.  Murie. 

53 


SONG   OF   THE   WREN. 

Pawnee. 
Transcribed  from  Graphophone  and  harmonized  by  Edwin  S.  Tracy. 

Flawingly  and  Lightly, 


Ke-chi  ra-ku-wa-ku   whe  ke   re     re    we        chi, 


i 


1^ 


iz-az* 


s 


t=^ 


Ke-chi    ra-ku-wa-ku  whe  ke     re    re     we        chi, 


^fe=f=i: 


Ke-chi   ra-ku  -  wa-ku  whe  ke     re     re    we       chi, 


m 


T=t± 


^- 


i=^ 


Tf 


J  X 


SONG   OF  THE   WREN. 


i 


l!^=rt 


^ — i^-"-^ — ^ — *-^-^ — i^ 


P- 


Ke  -  chi   ra  -  ku  -  wa  -  ku  whe  ke     re      re    we     chi, 


m 


-^^-^ 


^ 


7c 


Ke  -  chi    ra  -  ku  -  wa  -  ku   whe  ke     re    re     we     chi, 


1 


^ 


-#-^- 


71 


Ke  -  chi   ra  -  ku  -  wa  -  ku  whe  ke    re  re     we      chi. 


^ 


m 


<^\,  I 


INDIAN    STORY   AND    SONG 

powerful  of  birds,  that  seemed  to  be  most  glad  and 
to  pour  out  in  ringing  melody  to  the  rising  sun  its 
delight  in  life. 

''As  the  priest  looked,  he  thought:  'Here  is  a 
teaching  for  my  people.  Every  one  can  be  happy, 
even  the  most  insignificant  can  have  his  song  of 
thanks. ' 

"So  he  made  the  story  of  the  wren  and  sang  it; 
and  it  has  been  handed  down  from  that  day,  —  a 
day  so  long  ago  no  man  can  remember  the  time." 


•>6 


THE   OMAHA   FUNERAL   SONG. 

There  was  but  one  funeral  song  in  the  Omaha 
tribe,  and  this  was  only  sung  to  honour  some  man 
or  woman  who  had  been  greatly  respected  by  the 
people. 

What  one  would  see,  when  this  song  was  sung, 
was  in  violent  contrast  to  the  character  of  the 
music.  The  blithe  major  strains  suggest  only 
happiness.  They  hardly  touch  ground,  so  to  speak, 
but  keep  their  flight  up  where  the  birds  are  flitting 
about  in  the  sunshine;  and,  if  there  are  clouds  in 
the  blue  sky,  they  are  soft  and  fleecy,  and  cast  no 
shadows.  Yet  the  men  who  sang  this  song  were 
ranged  in  line  before  the  tent  where  the  dead  lay 
ready  for  burial.  They  had  drawn  the  stem  of  a 
willow  branch  through  a  loop  of  flesh  cut  on  their 
left  arm,  and  their  blood  dripped  upon  the  green 
leaves  and  fell  in  drops  to  the  ground. 

The  meaning  of  this  strange  spectacle  and  its 
musical  accompaniment,  so  apparently  out  of  keep- 
ing, must  be  sought  for  in  the  beliefs  of  the  people. 
It  was  a  drama  touching  two  worlds. 

The  shedding  of  blood  was  to  express  how  vital 
was  the  loss.     This  act,  visible  to  the  mourners,  was 

57 


SONG   TO   THE   SPIRIT. 

Omaha. 
Harmonized  by  Prof.  J.  C.  Fillmore. 
Smoothly^  with  Tender  Feeling. 


i 


N  =  96, 


I 4_ 


It 


E         a      dha      ah  E  he     a      ha 

Light  beats  on  willow  sticks.    No  drums. 


1 


^ 


^ 


iSr 


z± 


Peds.  f  and  p. 


*       Ped. 


zte 


sai^i 


,^-n 


II: 


it-jt 


± 


P3 


ah,    he    ah 


E   dha 


ah 


he     a    ha 


lEt 


S5-r£: 


ah 


:■& 


13& 


*  /v</. 


^iri 


i—^  4   d- 


a 


v^^^# 


1 


±^: 


■iS'- 


E   dha  ah     E 


I  I 

ah  E   ah  ha 


e     ha   o      E  dha 


f=m=^=^ 


^ 


*=p: 


"fcz^t 


^ 


±d 


^*  ^'''- 


SONG   TO   THE    SPIRIT. 


^^m 


1^=^^ 


i 


he 


he 


dhoe 


ha 


£^ 


m 


o 


dha 


E^ 


s 


4:=t 


A^ 


I T 


* 


Ped. 


m^^m 


2_^ j^-ij-:^ 


333 


ha 


he     a     ha 


I 
ah 


dha     ah 


W^:^:^ 


:^   I    I    I 


2=*- 


:ii=it:g=|i 


?czp: 


1i=]c 


t~t 


:jc  Z'^^. 


I 


ffijf<r^ 


s^ 


^ 


^^ 


4- 


:i: 


I 
ah    E    ah   ha 


e     ha    o 


I 

E    dha      he 


dho. 


m 


wi 


-t--^?!. 


i 


W=W- 


Ped. 


a 


* 


INDIAN    STORY  AND    SONG 

an  exhibition  of  sympathy;  but  music  had  power  to 
reach  the  unseen  world,  so  the  song  was  for  the 
spirit  of  the  dead,  who  could  not  see  the  lacerated 
singers,  but  could  hear  them,  as  they  sang  to  cheer 
him  as  he  went  forth,  forced  by  death  to  leave  all 
who  were  dear  to  him.* 

The  song  was  always  sung  in  unison.  The 
rhythm  was  accented  by  each  singer  beating  to- 
gether two  small  willow  sticks. 

There  are  no  words  to  the  song,  only  vocables; 
and  these  belong  to  the  breathing  or  sighing  class, 
indicative  of  emotion. 

*  It  was  one  of  the  customs  of  the  Omahas  to  cease  wailing  at  a  certain  stage  in 
the  funeral  ceremonies,  that  the  departing  friend  might  not  be  distressed  by  the 
sounds  of  sorrow,  as  he  left  his  home  behind  him,— a  custom  founded  on  the  same 
belief  as  that  expressed  by  this  funeral  song. 


60 


STORY   AND    SONG   OF   THE    MOTHER'S 
VOW. 

It  was  a  warm  day  of  early  spring  on  the  Upper 
Missouri,  when  the  subtle  joy  of  awakening  life 
stirs  the  blood  and  rouses  the  fancy.  The  brown 
outline  of  the  bare  trees  was  already  broken  by 
little  leaves  that  were  shaking  themselves  in  the 
bright  sunlight.  Flowers  were  peering  through  the 
vivid  green  of  the  freshly  sprung  grass,  the  birds 
had  come,  and  the  silence  of  the  year  had  passed. 
It  was  a  day  to  enjoy  outdoor  life,  to  indulge  in 
hope  and  happy  thoughts.  The  sky  was  so  blue 
between  the  rolling  white  clouds  that  one  forgot 
they  could  ever  become  portentous  of  storm.  The 
tents  of  the  Indians,  dotted  along  the  banks  of  the 
stream,  stood  like  tall  white  flowers  among  the 
trees.  Women  and  children  were  chatting  and  call- 
ing to  each  other.  Men  moved  sedately  about,  busy 
with  preparations  for  the  coming  summer  days. 
Young  men  and  maidens  were  thinking  of  each 
other;  for  the  morning  song  of  the  lover  had  been 
heard,  and  the  signal  flash  of  the  mirror*  had  re- 
vealed   his   watching-place    to   the   dark-eyed   girl 

*  Young  men  carried  small  looking-glasses  with  which  they  flashed  signals. 
6l 


INDIAN    STORY   AND    SONG 

demurely   drawing   water  for  the  household   in  the 
early  dawn. 

Unheeding  the  passage  of  the  hours,  I  wandered 
up  the  narrow  valley,  noting  the  fading  lines  of 
aboriginal  life  spread  out  before  me.  All  at  once 
I  became  aware  that  the  brightness  of  the  day  was 
overshadowed :  a  greyish  hue,  that  rapidly  deepened, 
pervaded  the  scene.  Suddenly  the  wind  came  over 
the  hills,  the  birds  darted  about,  and  the  sound  of 
thunder  was  heard.  Everything  was  seeking  a 
shelter;  and,  as  I  turned  in  haste,  hoping  to  reach 
the  nearest  tent,  I  saw  an  old  woman  emerge  from  a 
lodge  and  in  the  face  of  the  storm  begin  to  climb 
the  hill,  down  which  the  wind  swept,  laying  low 
the  grass  and  whipping  the  heads  of  the  flowers. 
Seemingly  unmindful  of  the  storm,  on  the  woman 
went,  her  scant  garments  flapping,  and  her  hair, 
seamed  with  grey,  tossing  about  her  wrinkled  face. 
The  sight  was  so  strange  that  I  paused  to  watch  her, 
as  she  climbed  on  and  on,  steadfastly  breasting  the 
storm.  The  lightnings  flashed  around  her,  and 
the  thunder  echoed  among  the  hills  as  she  reached 
the  top.  There  she  stopped  and  stood,  a  silhouette 
against  the  surging  clouds,  her  hands  uplifted,  her 
head  thrown  back ;  and  between  the  thunder  peals  I 

62 


THE    MOTHER'S  VOW 

heard  her  voice  ring  out  loud  and  clear  in  a  song, — 
a  song,  I  doubted  not,  that  carried  a  message  to  the 
mighty  storm,  in  which  to  her  the  gods  were  present. 
Many  years  have  passed  since  I  witnessed  this 
scene  and  learned  the  story  of  the  woman's  song. 
She  is  now  at  rest,  and  let  us  hope  her  lifelong  sor- 
row may  have  turned  to  joy. 

In  the  early  part  of  the  century  a  Dakota  woman 
fasted  and  prayed,  and  Thunder  came  to  her  in  her 
vision.  To  the  god  she  promised  to  give  her  first- 
bom  child.  When  she  became  a  mother,  she  forgot 
in  her  joy  that  the  life  of  her  little  one  did  not  be- 
long to  her;  nor  did  she  recall  her  fateful  vow  until 
one  bright  spring  day,  when  the  clouds  gathered  and 
she  heard  the  roll  of  the  thunder,  —  a  sound  which 
summoned  all  persons  consecrated  to  this  god  to 
bring  their  offerings  and  to  pay  their  vows.  Then 
she  remembered  what  she  had  promised;  but  her 
heart  forbade  her  to  lay  the  infant,  which  was  smil- 
ing in  her  arms,  upon  the  cloud-swept  hill-top.  She 
pressed  the  baby  to  her  breast,  and  waited  in  si- 
lence the  passing  of  the  god  in  the  storm. 

The  following  spring,  when  the  first  thunder 
pealed,  she  did  not  forget  her  vow;  but  she  could 
not  gather  strength  to  fulfil  it. 

63 


INDIAN    STORY  AND    SONG 

Another  year  passed,  and  again  the  thunder 
sounded.  Taking  the  toddling  child  by  the  hand, 
the  mother  climbed  the  hill;  and,  when  the  top  was 
reached,  she  placed  it  on  the  ground  and  fled.  But 
the  boy  scrambled  up  and  ran  after  her,  and  his 
frightened  cry  stayed  her  feet.  He  caught  her  gar- 
ments and  clung  to  them ;  and,  although  the  thunder 
called,  she  could  not  obey.  Her  vow  had  been 
made  before  she  knew  the  strength  of  a  mother's 
love. 

Gathering  the  boy  in  her  arms,  she  hid  herself 
and  him  from  the  presence  of  the  god.  The  storm 
passed,  and  the  mother  and  child  returned  to  the 
lodge ;  but  fear  had  taken  possession  of  her,  and  she 
watched  her  son  with  eyes  in  which  terror  and  love 
struggled  for  the  mastery. 

One  day,  as  the  little  one  played  beside  a  rip- 
pling brook,  laughing  and  singing  in  his  glee,  sud- 
denly the  clouds  gathered,  the  flashing  lightning 
and  the  crashing  thunder  sent  beast  and  bird  to 
cover,  and  drove  the  mother  out  to  find  her  child. 
She  heard  his  voice  above  the  fury  of  the  storm,  call- 
ing to  her.  As  she  neared  the  brook,  a  vivid  flash 
blinded  her  eyes.  For  a  moment  she  was  stunned ; 
but,  recovering,  she  pushed  on,  only  to  be  appalled 

64 


THE    MOTHER'S  VOW 

by  the  sight  that  met  her  gaze.     Her  boy  lay  dead. 
The  thunder  god  had  claimed  his  own. 

No  other  children  came  to  lighten  the  sorrow  of 
the  lonely  woman;  and  every  spring,  when  the  first 
thunder  sounded,  and  whenever  the  storm  swept  the 
land,  this  stricken  woman  climbed  the  hills,  and 
there,  standing  alone,  facing  the  black  rolling 
clouds,  she  sang  her  song  of  sorrow  and  of  fealty. 

The  words  of  the  song  are  addressed  to  the  god ; 
but  the  music,  in  its  swaying  rhythm,  suggests  the 
mother's  memory  of  the  days  when  she  soothed  her 
little  child. 

The  following  is  a  free  translation  of  the  Indian 
words :  — 

E  dho  he  !  * 

Behold  !     On  their  mighty  pinions  flying, 

They  come,  the  gods  come  once  more 

Sweeping  o'er  the  land, 

Sounding  their  call  to  me,  to  me  their  own. 

Wa-gi-u« If     Ye  on  mighty  pinions  flying, 

Look  on  me  here,  me  your  own, 

Thinking  on  my  vow 

As  ye  return  once  more,  Wa-gi-u» ! 

•  Sighing  vocables.  t  Dakota  term  for  the  thunder  bird. 


65 


THE    MOTHER'S   VOW. 

Dakota. 
Harmonized  by  Prof.  J.  C.  Fillmork. 

With  feeling,  dignity  and  /lowing  rhythm. 


Introd 


izzit 


m 


3^=it 


mm^. 


* 


■# 1 m 


S    'S 


E   dhohe!Gi-un,        gi-una-gi-ba     ha -don -be 


^S 


s 


t=TW- 


3 


t 


A: 


Ped. 


:ie    Ped, 


* 


^^m 


Co-dha,  gi-don-be  .  .     a-me,    ha -don-be     a-me, 


Pg^ 


3 


^-»i— ii- 


/v^. 


:}:  Ped. 


* 


Wa-gi-un  gi  a  -  me  dho  he        dho  -  e.  Wa-gi-un 
,  Tremolo ^ 


s^^n^^s^ 


Ped, 


-&  -^ 


=t* 


THE    MOTHER'S   VOW. 


S 


^ 


^ 


j±i=^ 


«/ 


gi  -  un     a  -  gi   -  ba       ha  -  don  -  be       Co  -  dha 


es 


:?=q=P 


m^ 


i 


/'tf^. 


:{(   Z'^^. 


P 


fci=i 


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^^ 


iEE3^^^ 


^-^ 


r 


gi  -  don  -  be  .  .    ha-we      ha     -     don   -  be      a-me. 


m. 


iif=- 


bzr^ 


*  Fed. 


Wa  -  gi  -  un       gi     a-me  dho  he  ...  .       dho. 


Tremolo. 


i 


^^^^m^m 


!^ 


:4-^ 


I 


Fed. 


A   LOVE-CALL. 

The  native  flageolet  has  proved  a  trusty  friend  to 
many  a  youth  to  whom  nature  had  denied  the  power 
of  expressing  in  vocal  melody  his  fealty  to  the 
maiden  of  his  choice.  With  its  woody  tones  he 
rivalled  the  birds  as  he  sounded  his  love-call  from 
the  hills  and  made  glad  the  heart  of  the  girl,  who, 
catching  the  signal,  awaited  his  coming  at  the 
spring. 

There  are  many  bits  of  music  composed  for  this 
little  instrument,  which,  in  spite  of  its  inaccuracies 
of  pitch,  arising  from  imperfect  construction,  are 
not  without  hints  of  beauty. 


68 


LOVE   CALL. 

Omaha. 


For  the  Flageolet. 


fc« 


W=M=ti 


fcr^: 


^^^g^iif^^gg^ 


S3 


^^^^ 


Ses^S 


S9 


A   GAME    SONG   FROM   THE   NORTH- 
WEST  COAST. 

It  is  well  known  that  the  serious  avocations  of 
the  fathers  often  serve  as  games  for  the  children. 
So  it  comes  about  that  in  the  games  of  chance  we 
have  a  survival  of  the  ancient  custom  of  divination. 
As,  according  to  Indian  belief,  song  was  the  me- 
dium through  which  man  communicated  with  the 
mysterious  powers,  we  find  all  his  games  of  chance 
accompanied  by  melodies. 

One  autumn  evening  many  years  ago  I  was  walk- 
ing along  a  stretch  of  the  Pacific  shore.  The  west- 
erning moon  flooded  the  water  with  light,  and  lit  up 
the  edge  of  the  dense  forest  that  formed  the  back- 
ground of  an  Indian  village.  From  one  of  its  great 
square  wooden  dwellings  came  the  sound  of  singing, 
and  the  ruddy  firelight  shone  through  the  cracks  of 
the  plank  door  as  I  approached. 

Entering,  I  saw  that  the  central  fire  had  just 
been  lighted.  The  four  families,  which  had  each 
their  particular  portion  of  the  communal  house,  had 
suffered  their  separate  fires  to  burn  to  ashes,  and 
had  pushed  back  their  various  belongings  to  give 
more  room  for  the  gathering  crowd. 

70 


A   GAME    SONG 

I  lingered  at  the  door,  looking  on  the  motley 
scene:  the  women  and  children  in  the  background; 
the  old  men  in  groups,  talking  over  their  younger 
days;  the  line  of  men  singers,  each  with  his  piece 
of  board  with  which  to  strike  the  floor  in  lieu  of  a 
drum ;  the  young  men  who  were  to  play,  ranged  in 
two  opposite  rows ;  and  others  standing  about,  watch- 
ing their  friends  and  eager  for  the  game  to  begin. 

When  all  was  ready,  the  leader  of  one  side  held 
up  for  a  moment  in  one  hand  a  small  piece  of  bone, 
then  began  tossing  it  secretly  from  one  hand  to  the 
other,  moving  the  closed  fists  rapidly  past  each 
other  to  the  rhythm  of  the  song  sung  by  the  singers, 
the  opposite  side  keeping  sharp  eyes  on  the  moving 
fists,  to  be  ready,  when  the  signal  should  be  given, 
to  detect,  if  possible,  the  hand  to  which  the  bone 
had  finally  been  passed. 

Heavy  stakes  were  put  up,  and  there  was  every 
sign  that  song  after  song  would  follow  each  other  as 
the  night  wore  on. 

The  song  which  follows  is  sung  when  playing  a 
game  of  chance :  — 


71 


GAME   SONG. 

Vancouver's  Island. 
Transcribed  and  Harmonized  by  Prof.  J.  C.  FlLLMORX. 

With  strong  Rhythm  and  Abandon. 


:Sfca 


^jrtfl3^e=*-E-^r 


*  Fed. 


j4— I- 


1 ^— f^ 


a: 


-<5>- 


^=i=^ 


u  uJIj"      lj  lj  U  U^ 


GAME   SONG. 


$ 


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5=2: 


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STORY  AND  SONG  OF  THE  INDIAN 
COQUET. 

In  the  last  century  there  lived  a  man  who,  in  his 
young  days,  was  a  desperate  coquet.  He  played 
havoc  with  the  plans  of  many  a  young  man,  robbing 
him  of  the  fancy  of  his  sweetheart,  and  then  leav- 
ing the  maiden  all  forlorn.  His  behaviour  aroused 
the  anger  and  jealousy  of  both  sexes,  but  he  seemed 
as  impervious  to  the  contempt  of  his  fellows  as  he 
was  callous  to  the  woe  of  his  victims.  The  whole 
village  buzzed  with  the  gossip  of  his  adventures,  and 
every  one  wondered  how  he  managed  to  escape  pun- 
ishment. 

After  the  manner  of  the  people,  a  song  was  made 
about  him  and  his  career,  that  has  outlasted  his  vain 
victories. 

It  is  difficult  to  convey  in  concise  English  the 
sarcastic  humour  of  the  original.  The  words  picture 
this  young  man  as  sitting  on  a  hill,  near  the  village 
where  he  lived  and  achieved  so  many  conquests. 
The  warm  summer  breeze  wafted  up  to  him  the  hum 
of  the  people  as  they  talked,  blaming  him  for  his 
actions.  ''But  why  blame  me?"  says  the  irresist- 
ible youth,  stretching  himself  at  full  length  in  the 

74 


SONG  OF  THE  INDIAN  COQUET. 

Omaha. 
Harmonized  by  Prof.  J.  C.  Fillmore. 


Swinging  rytkm 


■^--w^^=x 


n=^- 


i±jE^=^i=j 


^^ 


Ta  won  gdhon    dhe-  nun-  ye        de.  . 


Un  -  dhon- 


I 
jL 


g«5 


-»— 


-»-^ 


-»— ■ 


S: 


Ped. 


*      Ped, 


^^^^i 


4=^ 


SE* 


-*— 1^ 


ge  -  a  dhon-  ke     dhe.  .  .       wa-kon-da  he-gi-mon  -  te 


W 


l± 


9-^ 


*  Ped. 


* 


m 


t^     -S:  -*■    -5-:  -S-:       ^  •    -#-    -J-    -j::    -Ji:    J^ 

in-  dhin-ga  -  ye    ga  -    ma      hi  -  a       me  .  .       Hi ! 


i 


^ 


M 


F^ 


^ 


:pLZ=: 


P«d. 


:f:Ped. 


*Pcd.  :j^ 


INDIAN    STORY   AND   SONG 

sunshine.  "It  was  the  gods  that  made  me  as  I  am : 
blame  them,  if  you  will !  "  And  he  gave  a  sigh  of 
satisfaction,  ''Hi!" 

The  music  carries  the  story  well.  The  swing  of 
the  last  six  bars  suggests  his  shrug  of  irresponsi- 
bility. 


THE    OLD    MAN'S    LOVE-SONG. 

Early  in  the  century  there  lived  an  Omaha  Ind- 
ian, a  tall  and  comely  man,  gifted  with  a  fine 
voice  and  a  good  memory,  and  who  was  greatly  ad- 
mired by  the  men  and  women  of  the  tribe.  Al- 
though genial  with  every  one,  he  was  reserved ;  and 
none  knew  all  that  had  transpired  in  his  life  or  that 
occupied  his  thoughts.  He  was  a  prosperous  man. 
His  lodge  was  well  supplied,  for  his  skill  as  a 
hunter  was  equal  to  his  valour  as  a  warrior. 

Years  passed;  and  here  and  there  a  silver  thread 
glistened  in  his  black  hair,  the  furrows  deepened  in 
his  handsome  face,  and  more  and  more  his  thoughts 
seemed  to  dwell  on  the  past.  One  day  he  was 
heard  singing  a  love-song  of  his  own  composition, 
and  gossip  became  busy  as  to  what  this  song  might 
mean.  His  actions  threw  no  light  on  the  mystery. 
He  was  the  same  kind  husband  and  father,  the  same 
diligent  provider,  and  he  sought  no  new  companion- 
ship. Nevertheless,  at  every  dawn  he  went  upon 
the  hill  near  his  lodge;  and,  while  the  morning  star 
hung  like  a  jewel  in  the  east,  he  sang  the  melody 
carrying  the  words, — 

"  With  the  dawn  I  seek  thee ! " 
77 


THE  OLD  MAN'S  LOVE  SONG. 

Omaha. 


Solibitum, 

Harmonized  by  Prof. 
Flowingly,  With  feeling. 

~t  1  **'       J       tl-^ ^ ^ 

.  C.  Fillmore. 

r^f*^ — \ 1 — I 

^A^^ 

--4^-^^ 

V^4     #   |i^    ^    *'     ^'     1 

V'  ^  r — 

Ha    he 

-L^: 1 

ha    ha    he   ha 

T — 

dhe     ha  dha 

he   ha    we 

'^^      ^' 

_^2_! 

4^_ 

4^ 

rt-^  i 

1 

^ 

L.,   4  ' 

_) 1 

1                        ' 

Ped. 


:Js    Ped.        *     Ped. 


tfcrS: 


J^ 


^ 


>>, 


a 


^ 


t3tr*: 


^B 


T 


f 


^ 


e        ha  dhoe, 

T". — 


g 


Um  -  ba     e  -  don      ha  -  i-  don, 


fi-P- 


P'^-P- 


& 


Pcd. 


* 


Ped. 


*  Ped.       *  Fad,. 


Pi 


jN±zt=f<t: 


ia 


hu 


r 


il n^v-^- 


■^ 


M 


nc     ha,     ho     e     ho     wa   dho  he  dhe,     I 

I       I  ! 


t±L 


4 


F^a. 


m     Ped, 


THE  OLD  MAN'S  LOVE  SONG. 


i 


w 


^ 


-^r-r 


±r-^ 


f 


I 


-^     :5t     i^ 


ha,      ha     he    ho,     ho      he      ho,      he      ha      we 


w=t':w 


^ 


r 


*  Fed.         *     Fed. 


^         Fed. 


J  =  69.     ^ 


ha=i 


^^ 


5^^B 


i&e 


w 


dhe    dhoe.       Un  -  ba  i  -    don       ha  -  i  -    don, 


:i 


fiE 


s — *- 


m 


^ 


*      Ped.         :Jc    Ped.         *    Ped. 


:ic 


^ 


t=q: 


i 


aa 


-H jjh-H 1 H 1 1 P 1— 


hu  -  wi    ne        ha,  ho       e      ho    ne     dho    he. 


« 


^ 


i 


Ped. 


INDIAN    STORY  AND   SONG 

The  young  men  caught,  the  tune,  and  sang  it  as 
they  wooed  the  maidens;  and  the  old  man  smiled  as' 
he  heard  them.  **Yes,  they  are  right,'**  he  said. 
**It  is  a  love-song.  "  , 

He  grew  to  be  a  very  old  man,  an  old  man 
with  a  love-song,  until  it  was  only  when  the  warm 
days  came  that  he  could  slowly  climb  the  hill  at 
dawn,  and,  alone  with  the  breezes  and  birds,  greet 
the  new  day  with  his  song,  that  both  kept  and  re- 
vealed his  secret,  —  the  secret  of  a  love,  like  the 
radiant  bow,  spanning  the  whole  horizon  of  his  life. 
At  last  a  time  came  when  his  voice  was  no  longer 
heard. 

The  tender  cadences  of  his  song,  fraught  with 
human  hope  and  human  feeling,  still  linger,  and 
to-day  awaken  echoes  across  the  barriers  of  time 
and  race. 


80 


STORY   OF   THE    WE'-TOiV   SONG. 

Many  Indian  tribes  believed  it  possible  for  one 
person  to  affect  another  through  the  power  of  the 
will.  This  belief  gave  rise  to  peculiar  customs  and 
to  a  class  of  songs  called,  in  the  Omaha  tongue, 
We'-to;?,  composed  and  sung  by  women  for  the  sole 
purpose  of  exerting  this  power  for  the  benefit  of 
absent  warriors. 

Unless  the  village  was  attacked,  women  did  not 
take  active  part  in  war.  When  the  men  went  forth 
on  a  long  journey  to  meet  the  enemy,  the  women 
remained  at  home,  attending  to  domestic  duties. 
Their  thoughts,  however,  were  with  the  absent  ones; 
and,  under  the  incentive  of  the  belief  in  will  power, 
they  would  gather  in  groups  at  the  lodge  of  the 
Leader  of  the  war  party,  and  in  the  hearing  of  his 
family  would  sing  a  We'-to;^  song,  which  should 
carry  strength  to  the  far-away  warriors  and  help 
them  to  win  the  battle. 

The  words  of  these  songs  do  not  reveal  the  pur- 
pose for  which  they  were  sung,  it  being  one  of  the 
peculiarities  of  the  Indian  never  to  expatiate  upon 
that  which  to  him  is  apparent.  The  gathering  of 
the  women  at  the  lodge  of  the  Leader  of  the  war 

8i 


INDIAN    STORY   AND    SONG 

party,  the  united  action  in  singing  a  song  never 
used  but  for  one  purpose,  made  any  explanatory 
words  seem  unnecessary.  The  distinctive  mission 
of  the  song  was  to  reach  the  absent  man,  who,  far 
from  home,  was  suffering  hardship  and  facing  dan- 
ger. Upon  him  the  singers  fixed  their  thoughts, 
and  to  him  sent  strength  by  their  power  of  will. 
The  words  always  referred  to  the  difficulties  that 
confronted  the  warrior,  and  promised  him  success 
and  victory.  They  were  not  addressed  to  any  vis- 
ible audience. 

The  We'-to«  song  here  given  was  composed  by  a 
Dakota  woman. 

Many  years  ago  a  large  party  of  warriors  were 
out  on  a  dangerous  expedition  for  the  purpose  of 
recapturing  some  property  stolen  by  an  implacable 
enemy.  There  seemed  little  hope  for  their  safe 
return,  and  great  apprehension  was  felt  in  many 
a  tent.  One  evening,  as  the  moon  rose,  round  and 
clear,  over  the  wide  rolling  prairie,  a  group  of 
women  moved  in  single  file  to  the  lodge  of  the 
Leader  of  the  war  party,  upon  whom  rested  the 
responsibility  of  the  expedition. 

The  tent  stood  dark  against  the  evening  sky,  re- 
82 


STORY    OF   THE   WE'-TOiV  SONG 

vealing  the  anxiety  within,  which  had  let  the  blaz- 
ing fire  die  to  smouldering  embers.  At  the  door 
the  women  paused,  and  across  the  stillness  of  the 
night  they  sent  forth  this  song,  fraught  with  their 
united  determination  to  compel  victory  for  the 
absent  men. 

**A11  the  tribes  shall  hear  of  you,"  they  sang. 
**Put  forth  your  strength.  Truly  this  shall  come  to 
pass. ' ' 

Out  of  the  silent  tent  emerged  the  Leader's 
wife,  bearing  in  her  arms  gifts  in  acknowledgment 
of  sympathy  given  and  of  succour  sent. 

And,  as  the  women  sang,  * 'truly  it  came  to  pass. " 
In  due  time  the  men  returned  triumphant,  after 
many  hair-breadth  escapes,  with  not  one  of  their 
number  missing. 


8a" 


WE  -  TON  SONG. 

Dakota. 
Harmonized  by  Prof.  J.  C.  Fillmore. 


i 


fVM  feeling. 


i^- 


;-4=^ 


-^ 


1 — \ 


P^^ 


E       ya-  a      he !           ah    he      dhe      he       dhe 
-II-    -if-  -»--»-      -w-    -»-_   -»-    -g- -g-    -g- 


t »- 


-» »- 


:t==t 


1 V 


±=t 


t — r- 


P6d. 


*  Ped. 


* 


I 


1-*^i^ 


-<s- 


^=i=5: 


ifizzit 


-jr±^ 


-^- 


ah  he     dhe     he      dhe 


S:r^ 


^^^ 


:Mi.-^— ^ 


x=x 


■m — • — r»' 


ya     he  !       ah     ye 


i-t 


-# — n- 


t=x 


:t 


f=P 


Ped. 


^Ped, 


i^Ped. 


$ 


^^ 


^^— r 


i=^ 


i=i=t^=r 


dha      he      he 


ah  he     dha  he       dhoe, 


1^ 


F=f 


:«: 


si 


--^- 


i 


*  Ped- 


WE  -  TOA^  SONG. 


1— # — #— r-^ #— p-#=v-J — p- 


a-^ 


5_5_^^* 


^.      ^ 


-|:-t- 


?=:4it=t 


±=t 


±z=± 


i r- 


Ped, 


* 


I 


iEiES 


:i^ 


=1=t=it: 


#_:,.     r 


-75^- 


-# #- 


skon- e  -    gun        ya      he 


^ 


f=t 


E        ya       he  ! 


^ ^ 


t=|: 


4-fi 


t=t: 


:^=p: 


:^   I   I  I     r 


r 


Pcd. 


*  Ped. 


* 


tt 


:±=f- 


^^1^1 


=* — ^ 


:i=f=i 


ah  he    dhe  he     dho. 


f 


ah     he     dhe         he      he 


^^ 


-^ n-r-^- 


t=t=:=:t 


r-  <»      P   n-» 


53 


#— r-P- 


I 


r  TT    f 


Pcd. 


;*:  Ped, 


T=^=^ 


A   PAWNEE   LOVE-SONG. 

There  is  no  dalliance  in  this  Pawnee  love-song. 
It  has  no  words,  but  the  music  tells  the  story, —  the 
insistent  call  of  the  lover  to  the  maiden  to  fly  with 
him,  the  wide  sweep  of  the  prairie,  the  race  for 
cover,  and  the  dauntless  daring  that  won  the  girl 
from  rival  pursuers. 


LOVE    SONG. 

Pawnee. 


Transcribed  by  E.  S.  Tracy. 


^ 


Spirited. 


W=^ 


W=b^==i^ 


^PEFSE^zzz:^ 


f==l?: 


-=i— =1- 


Pulsation  of  voice. 


1 ■-""— t- 


i 


^ 


p^^-^ 


1^=41 


r     1 


7^4  i'^^~"-^3 


^ 


I 


A   WARRIOR'S    STORY   AND    SONG. 

The  Mi'-ka-thi  songs  are  sung  by  warriors  as  they 
leave  the  village  on  their  way  to  battle.  They  all 
originate  in  some  personal  experience,  and  both 
story  and  song  are  handed  down  with  care  and  pre- 
cision. 

A  Ponka  war  party  once  camped  near  the  enemy. 
The  usual  sentinels  had  been  stationed,  with  special 
injunctions  to  be  vigilant,  that  the  camp  might  not 
be  discovered  and  surprised.  Among  those  assigned 
to  duty  as  sentinel  that  night  was  a  young  man 
ambitious  to  win  preferment  and  honour  in  the  tribe. 
His  career  was  yet  all  to  make,  and  he  was  on  the 
alert  for  opportunity  to  distinguish  himself. 

There  was  no  moon,  and  only  the  keenest  eye 
could  discern  any  distant  object  in  the  darkness. 
The  silence  was  unbroken  save  by  the  occasional 
cry  of  the  wolf,  the  creaking  of  a  cricket,  or  the 
rustle  of  a  passing  breeze. 

The  young  man,  intently  on  the  watch,  scanned 
the  country  from  right  to  left,  searching  through  the 
dimness  for  any  moving  thing;  but  all  was  motion- 
less beneath,  while  overhead  the  stars  moved  slowly 
through  the  heavens,  as  the  night  wore  on. 

8S 


A   WARRIOR'S    STORY   AND   SONG 

At  a  little  distance  from  the  watcher  was  a  clump 
of  trees.  Upon  this  he  kept  a  steady  eye,  only 
turning  now  and  then  to  sweep  the  horizon.  Once, 
as  his  eye  returned  to  the  trees,  he  beheld  a  shadow 
unnoticed  before.  It  moved;  and,  without  waiting 
to  see  more,  he  sped  noiselessly  as  an  arrow  to  wake 
the  Leader  and  report  that  he  had  seen  the  enemy 
creeping  toward  the  sleeping  warriors. 

The  Leader,  an  old  and  experienced  man,  made  no 
reply,  but  rose  quickly  and  silently,  and  taking 
his  bow  in  his  hand,  motioned  the  sentinel  to  lead 
the  way. 

With  rapid,  muffled  steps,  they  reached  the  place 
where  the  young  man  had  stood  when  he  had  seen 
the  moving  shadow.  The  Leader  looked  intently  in 
the  indicated  direction,  bent  his  ear  to  the  ground 
and  listened,  then  rose  and  looked  again. 

A  faint  gleam  of  light  in  the  east  gave  sign  of  the 
approach  of  day,  as  the  Leader  stepped  cautiously 
toward  the  group  of  trees,  followed  by  the  young 
warrior,  whose  heart  beat  high  with  hope  that  the 
time  had  at  last  come  for  him  to  show  his  valour 
and  win  a  war  honour.  A  greyish  hue  was  spread- 
ing over  the  land  as  they  neared  the  place.  The 
young  man's  eyes  sought  among  the  trees  the  hidden 

89 


INDIAN   STORY   AND   SONG 

enemy,   but   the  Leader  paused  and   addressed   the 
youth :  — 

*^Was  it  here  that  you  saw  the  enemy?  " 

''Yes." 

*'Look  on  the  ground  and  tell  me  what  you  see?  " 

Surprised  at  the  words,  yet  obedient,  he  turned 
his  scrutiny  from  the  trees  to  the  grass  upon  which 
they  stood,  and  detected  there  the  traces  of  the  feet 
of  an  animal.  As  he  gazed  silently  at  the  tracks, 
absorbed  in  his  thoughts,  the  dawn  came  slowly  on. 
The  Leader  was  the  first  to  speak :  — 

**I  had  seen  a  wolf  pass  here  when  I  was  going 
the  rounds  of  the  camp,  and  when  you  reported  to 
me  I  had  but  just  returned  to  my  bed.  I  arOvSe  and 
came  with  you,  to  be  quite  sure  that  we  had  both 
looked  in  the  same  direction  and  had  seen  the  same 
thing.  A  warrior  must  learn  to  distinguish  a  man 
from  a  wolf,  even  in  the  darkness  of  midnight." 

The  youth  heard  the  words  in  silence.  At  last 
he  said,  *'A  warrior  has  much  to  learn;  and  it  is 
well  if,  while  he  learns,  he  brings  no  trouble  to 
his  friends."  Then,  standing  beside  the  veteran 
Leader,  in  the  light  of  the  coming  day,  he  sud- 
denly broke  into  song,  voicing  there  on  the  instant 
the  feeling  born  of  his  night's  experience. 

90 


A  WARRIOR'S    STORY   AND    SONG 

This  story  and  song  he  gave  to  others,  that  it 
might  be  as  a  voice  of  warning  to  young  and  eager 
virarriors,  and  help  them  to  guard  against  a  misad- 
venture like  his  own. 

Although  the  young  man  in  after  years  became 
noted  in  the  tribe  for  his  prudence  and  valour,  this 
story  and  song  of  his  youth  have  survived  the  mem- 
ory of  his  later  deeds. 

The  words  give  the  pith  of  the  adventure:  "I  did 
not  report  aright  when  I  went  to  the  Leader  and 
bade  him  arise.      It  was  a  wolf  that  was  moving.** 

The  spirited  music  breathes  the  impatient  eager- 
ness of  youth.  The  haste  and  insistence  of  the 
young  warrior  are  heard  in  the  phrase  where  he 
addresses  the  **Nu-don  hon-ga,  **  or  Leader.  The 
song  is  a  great  favourite  among  the  young  men 
of  several  Indian  tribes  in  our  country. 


9« 


MI-KA-THI. 

A  WARRIOR'S   SONG. 

Ponka. 

Martial.     Spirited  and  lightly. 

A  A 


teK 


■& 


.;5:^ 


Hi 


ha        ha 


m^^^^ 


ha 


he 


I 


Ped. 


Ped. 


R^^ 

i 

— ^ 

-^ 

-E^ 

,^  ^  -d-d"  d-  -d-d-ij-  -*- 

-^^ 

— • — 

we 

— m — 
dho 

he 

f1± 

-[-•- 

# 

e          hu          he            a 

he 

^  V 

u 



+— 

-+- 

%-^A^ — \^ — V-- 

Ped. 


Ped. 


^^^==^. 


at:i 


w 


^ 


ti 


dhe      ya      a      ho        e    dho      he 


rr-^r 


hu 


^i^=f- 


~-t 


i=F 


*^=\ 


t 


/>«</. 


i^^^ 


Si 


r-r^j^i-: -j-T^rr 


e       a  -  he    ya    a    ha      e    dho      he 


he 


^isfe 


l'^ 


a^ffi^^c^? 


Ped. 


B::^t&=^: 


m 


MI-KA-THI. 

I   A__] N 


* 


U 


^•=FS 


1=^=11 


i=:4 


P 


dho-e.  Nu-don  hon-ga      ni  -  a  -  shi-ga    bi-ehe  mia  ka 


i^—wi—^^—it-^^     S    '  It 


9i± 


fezzri^S 


& 


^ 


^r^ 


9r-r 


non-zhi-a    he 


Hi^rt^ 


Mi 


ka    -    thi  -  a  - 


9 


:§:^ 


:P=ff 


t: 


Fed. 


t^: 


^-r— ^- 


:^:i=ic 


•     1^       i^ 


w^wi 


ma    ha  dhea    a  -  me    dho      he     .     .     .      e        Hon- 


iiifc=^ 


■i=* 


-•-r- 


-•-s- 


=1- ^a- 


i 


BSE 


1 


t=I^ 


f:       T.         t:      *    •  1^^^ 

ga  dhe  -  te    non    zhin  -  ge    dho    he    .     . 


f 


^ 


^ 


-P-'^ 


-t" 


Fed, 


^4" 


THE    MOCKING-BIRD'S    SONG. 

This  little  song  of  springtime  was  noted  from 
the  singing  of  a  Tigua  girl  of  the  pueblo  of  Isleta, 
N.  M. ,  by  my  honoured  and  lamented  friend  and  co- 
worker, Professor  John  Comfort  Fillmore.  It  tells 
the  story  of  the  semi-arid  region  where  it  was  born. 

Rain,  people,  rain ! 

The  rain  is  all  around  us. 

It  is  going  to  come  pouring  down, 

And  the  summer  will  be  fair  to  see, 

The  mocking-bird  has  said  so. 


^ 


MOCKING  BIRD    SONG. 

Tigua. 


Transcribed  and  harmonized 
by  Prof.  John  Comfort  Fillmorb. 


kV-Ar-m- 


X=:^- 


^^^=^^ 


Hla  -   chi      dai    -    nin,    hla   -    chi       dai 


nin, 


h=^ 


'^ 


i 


* 


N— A 


i-behmakunwhi  niweh,    dawingu        ba     hrn  ah. 


i 


*■        -#-    -d-    -j-    -•-    -•-         -•-    -• 


m 


-• — # 


Ah  hlun  hla  hlue  i    hi        ei  -  ah  whi  no  ei  -  ahwhi  no 


wey  u      tur   p'hoa  whe  na    he    de     a   na  Ihenh'li 


ii 


-• #- 


^ 


he    pun        hi      ni      ni     ah      Li       u      yu    sa      na 


^^i 


=^ — r^-t 


lit      -^•- 
ya         he    wa        a 


-^ — ^_U ^4: 


m 


hi    ni    ni      a     hi    ni     ni     a    ni      a      a    ha       i  hi. 


A  SONG  OF  THE  GHOST  DANCE. 

There  are  few  more  pathetic  sights  than  that  of 
an  Indian  ghost  dance, —  pathetic  in  itself,  not  to 
consider  the  gloomy  background  of  fear  inspired  by 
it  in  the  minds  of  so  many  of  our  own  race  who 
have  so  widely  misunderstood  its  meaning.  The 
ceremony  is  but  an  appeal  to  the  unseen  world  to 
come  near  and  to  comfort  those  who  have  been  over- 
taken in  the  land  of  their  fathers  by  conditions  both 
strange  and  incomprehensible. 

The  ghost  or  spirit  dance  is  a  modified  survival 
of  several  ancient  ceremonies,  blended  into  one  and 
touched  here  and  there  with  ideas  borrowed  from  our 
own  race. 

In  the  hypnotic  vision  which  follows  the  monoto- 
nous dance,  the  landscape  of  his  former  days,  un- 
touched by  the  white  man,  appears  to  the  "con- 
trolled" Indian:  the  streams  wander  through  un- 
broken prairie;  no  roadways,  no  fields  of  wheat, 
intrude  upon  the  broad  stretches  of  native  grasses; 
the  vanished  herds  of  buffalo  come  back  to  their 
grazing-grounds ;  the  deer  and  the  antelope,  the  wolf 
and  the  bear,  are  again  in  the  land;  and  the  eagles 
look  down  on  the  Indian  villages,  where  are  to  be 

96 


A    SONG   OF   THE    GHOST   DANCE 

seen  the  faces  of  old  friends  returned  from  the  spirit 
realm.  These  are  the  scenes  which  come  to  the 
homesick  Indian,  who  is  stranded  in  his  native 
land,  his  ears  filled  with  foreign  sounds,  his  old 
activities  gone,  and  his  hands  unskilled  and  unable 
to  take  up  new  ones. 

The  ghost  dance  is  the  cry  of  a  forsaken  people, 
forsaken  by  the  gods  in  which  they  once  trusted, — 
a  people  bewildered  by  the  complexity  of  the  new 
path  they  must  follow,  misunderstood  by  and  mis- 
understanding the  race  with  whom  they  are  forced 
to  live.  In  this  brief  ceremony  of  the  ghost  dance 
the  Indians  seek  to  close  their  eyes  to  an  unwel- 
come reality,  and  to  live  in  the  fanciful  vision  of 
an  irrecoverable  past. 

This  song  was  given  me  by  a  ghost  dancer,  a 
leader  in  the  Arapaho  tribe.  Before  he  sang,  he 
explained  to  me  the  ceremony,  its  peaceful  charac- 
ter, and,  all  unconsciously,  made  apparent  its  ex- 
pression of  a  pathetic  longing  for  a  life  that  can 
never  return.  Standing  before  the  graphophone,  he 
offered  an  earnest  prayer,  then,  with  his  companions, 
sang  this  song. 

The  simple  pathos  of  the  words  cannot  be  repro- 
97 


GHOST   DANCE   SONG. 


A  rapaho. 


Solemn  and fioivingly . 


3ES 


pi 


-!q_^ 


fc^i 


:i: 


l 


E3^Et 


r4    I       I    4=K=4 


■4 — It 


Fed.         "*" 


Z'^^. 


fe^ 


SES 


g 


P=*=f=^ 


4    •    »> 


a=t 


^r-r^^ 


i 


2 


ir:2-* 


54; 


4     I       I     f4 


^ 1^ 


/'^^. 


:S 


•=Jt 


mi 


5=t2: 


f 


9iS#=fi 


±=^- 


-M 


ifci; 


f' 


*  Fed. 


1 


m 


GHOST    DANCE    SONG. 


5 


f^m 


s^^ 


113 


1 r 


9-v# 


tt 


-«'— 


i 


-^-T-^ 


r 


*    Z"^^. 


di: 


^z:#=:zt::z!t: 


TSS 


/- 


r  r  r 


<5«-  -1- 

"-    f  r 

mf 


W^^^^^^^ 


m. 


^=^: 

rr 


y^^BE^^ 


T^ #■ 


1 


INDIAN    STORY  AND    SONG 

duced  in  English.  They  carry  a  meaning  beneath 
their  literal  sense  that  appeals  like  the  cry  of  a 
child. 

Father,  have  pity  upon  me  ! 

I  am  weeping  from  hunger  (of  the  spirit) : 

There  is  nothing  here  to  satisfy  me ! 

The  music  tells  the  story  of    the  cry.      Its  ca- 
dences are  antiphonal,  as  between  the  two  worlds. 


100 


SACRED  SONGS  OF  PEACE. 

When  the  white  race  first  visited  the  Indians  in 
the  Mississippi  valley,  they  found  among  thena 
a  ceremony  common  to  a  large  number  of  tribes; 
and  it  was  observed  that,  whenever  the  symbolic 
objects  peculiar  to  this  ceremony  were  displayed, 
they  were  treated  with  profound  respect. 

These  sacred  objects  were  two  perforated  sticks, 
like  pipe  stems,  one  painted  blue  to  represent  the 
sky,  and  the  other  green  to  typify  the  earth;  and 
among  their  bright-coloured  decorations  were  the 
plumages  of  particular  birds  and  wing-like  pendants 
of  eagle  feathers.  They  symbolised  the  heavens 
and  the  earth  and  the  mysterious  power  that  per- 
meates all  nature.  In  their  presence  the  Indians 
were  taught  that  they  should  care  for  their  children, 
think  of  the  future  welfare  of  the  people,  put  aside 
personal  grievances,  repress  anger  and  warlike  emo- 
tions, and  be  like  kindred,  at  peace  with  one  another. 
Different  names  were  given  to  these  peculiar  objects 
by  the  different  tribes;  and  they  were  classed  by  our 
early  travellers  with  the  ''calumets,"  or  pipes  of 
peace,  although  they  were  not  pipes,  for  they  had 
no  bowl  and  could  not  be  smoked. 


INDIAN    STORY   AND   SONG 

'  It  was  due  to  the  presence  of  one  of  these  so- 
called  **  calumets  "  in  Marquette's  frail  canoe  that 
made  possible  his  peaceful  descent  of  the  Missis- 
sippi River  on  his  voyage  of  discovery.  He  writes 
that  the  ''calumet  is  the  most  mysterious  thing  in 
the  world.  The  sceptres  of  our  kings  are  not  so 
much  respected;  .  .  .  for  one  with  this  calumet  may 
venture  among  his  enemies,  and  in  the  hottest 
battles  they  lay  down  their  arms  before  this  sacred 
pipe." 

The  ''calumet"  ceremony  has,  therefore,  an  his- 
toric interest  for  us,  apart  from  its  revelation  of  the 
religious  beliefs  and  social  ideals  of  the  Indian. 
To  explain  the  symbolism,  the  teachings,  and  the 
observances  which  make  up  this  complex  rite  would 
fill  a  volume;  but,  that  something  of  the  dignity  and 
beauty  of  the  thoughts  expressed  in  it  may  be 
known,  two  of  its  numerous  songs  are  here  given. 

To  understand  the  significance  of  these  songs,  it 
should  be  known  that  two  distinct  groups  or  parties 
were  indispensable  to  the  performance  of  the  cere- 
mony; namely,  they  who  brought  the  "calumets  " 
and  they  who  received  them.  As  it  was  imperative 
that  there  should  be  no  blood  relationship  between 
these  two  parties,  they  always  belonged  to  different 


SACRED    SONGS   OF   PEACE 

tribes  or  to  two  distinct  kinship  groups  within  the 
tribe.  The  party  bringing  the  '* calumets"  was 
called  '*the  father,"  while  those  receiving  them 
were  ''the  children."  These  terms  refer  to  the  tie 
about  to  be  formed  between  the  two  unrelated  par- 
ties by  means  of  this  sacred  ceremony.  This  tie 
was  esteemed  more  honourable  and  binding  than  the 
natural  bond  of  father  and  son. 

The  ceremony  generally  took  place  in  a  circular 
dwelling  known  as  an  "earth  lodge."  The  occa- 
sion drew  together  a  large  concourse  of  people, — 
men,  women,  and  children ;  and  the  gay  costumes, 
the  glinting  of  ornaments,  the  picturesque  groups, 
and  the  happy,  smiling  faces  of  old  and  young  made 
a  scene  full  of  colour  and  motion.  Many  times  I 
have  witnessed  this  ceremony  and  joined  in  its 
beautiful  chorals,  led  by  the  bearers,  who  swayed 
the  ''calumets"  to  the  rhythm  of  the  song,  wafting 
over  the  heads  of  the  people  the  blessing  of  peace. 

The  following  choral  was  sung  immediately  after 
the  "calumets  "  had  been  ceremonially  taken  from 
their  resting-place,  with  movements  that  simulated 
the  eagle  rising  from  its  nest.  The  bearers  then 
faced  the  people,  seated  on  the  ground  against  the 
wall  of  the   lodge,   and   with  slow  rhythmic  steps 

103 


INDIAN    STORY   AND   SONG 

moved  around  the  circle,  waving  the  ** calumets" 
over  the  heads  of  the  multitude.  As  the  "calu- 
mets** passed  slowly  by,  the  people  took  up  the 
choral,  until  at  last  the  great  lodge  resounded  with 
its  majestic  cadences.  The  leaping  flames  from 
the  central  fire  lit  up  the  faces  of  the  hundreds  of 
men  and  women ;  while  the  swaying  feathers  of  the 
**calumets"  cast  great  wing-like  shadows  on  the 
glistening  roof,  and  seemed  to  make  real  the  sym- 
bolic presence  of  the  mighty  eagle  himself,  circling 
over  the  people  as  he  sped  on  his  mission,  bearing 
the  benediction  of  good  will  among  men. 

Once,  at  the  close  of  this  song,  an  old  Indian 
turned  to  me  and  said,  ''The  'calumets'  are  of 
God.'* 

The  words  of  this  choral  refer  to  the  blessing  of 
peace  given  to  "the  fathers"  in  ancient  days,  and 
now  brought  by  the  symbolic  "calumets  "  to  "the 
children." 

Down  through  the  ages  vast, 

On  wings  strong  and  true, 

From  great  Wa-ko^Ma  comes 

Good  will  unto  you, — 

Peace,  that  shall  here  remain. 


104 


CHORAL. 

Offtaha. 
Harmonized  by  Prof.  J.  C.  Fillmorb. 

With  religious  feeling.  J  =  132. 


m 


m^- 


■I— j- 


6^#=^ 


• — * 


^ 


:#=g: 


Dha        ke  -  de     hia    u  -  dha 
Double  drum-beat . 


^ 


x=x 


-n—ft—n- 


:^=^_| [i: 


ho     -     dha 


S=E= 


^4-^- 


r.  I    1    I 


1     T"^  p^rt^. 


/^^^. 


a: 


^ 


ke -de    ho  -  dha 


dha        ke  -  de 


■U^ 


9^ 


t=t 


r-r-T^ 


#  /'^<^. 


i^ 


TF=4^ 


ti 


^'-=-' 


^ 


ha    dhe    he    hia  .  . 


-^ 


dha 


9.» • •- 


:J=5=^=F^J 


ke-dehia 

-4-J- 


5id2=zN==^=)l=|i 


Izd2)c=:1i: 


1—1—11=^: 


:t=d: 


f=r^ 


-•^— •- 


-i — r 


-4 4 4—1^ 


1        I 


*  Ped. 


i 


i 


i 


4:=:i 


r 


dha  ke  -  de      ha    dhe     he. 


I 


§^ 


%*=^ 


t=x 


-A- 


:*=:t 


i'«<jr. 


^   * 


-*   -& 


-ri-^— 4- 


2   * 


-5-:? 


* 


INDIAN    STORY   AND    SONG 

After  the  bearers,  or  '*the  fathers,"  had  ceremo- 
nially borne  the  '^calumets  "  four  times  around  the 
lodge,  singing  as  they  went  and  waving  the  blessing 
of  peace  and  fellowship  over  the  heads  of  *'the  chil- 
dren," they  paused  as  they  reached  a  consecrated 
place  at  the  back  of  the  lodge,  facing  the  entrance 
to  the  east.  Here  the  ground  had  been  specially 
prepared,  and  a  wildcat  skin  spread  upon  it  for  the 
reception  of  the  ''calumets."  Over  this  skin, 
which  had  its  symbolic  meaning,  the  bearers  waved 
the  "calumets,"  imitating  the  movements  of  the 
eagle,  sweeping  lower  and  lower,  rising  and  circling 
again,  and  then  dropping  lightly  upon  its  nest. 

The  song  is  one  of  those  sung  to  accompany  the 
movements  of  the  "calumets"  as  they  are  thus 
lowered  to  rest.  The  words  refer  to  the  search  of 
"the  fathers"  for  "the  children,"  to  bring  them 
peace,  as  the  eagle  soars  abroad  and  returns  to  its 
nest. 

Far  above  the  earth  he  soars, 

Circling  the  clear  sky, 

Flying  over  forests  dim, 

Peering  in  shadows, 

Seeking  far  and  wide  his  child, 

To  give  him  peace. 

io6 


THE    GIFT   OF   PEACE. 


Otoe. 


Harmonized  by  Prof.  J.  C.  Fillmorb. 

With  feeling.  Lightly  and  smoothly. 
J  =  56: .  


i 


jtziLiMzzMi 


W 


!#* 


Zhin-ga  dha-we  dho 
Tremolo  of  the  drum. 


dho    we 

r7\ 


m^^- 


he 


i 


ho-i 


m 


^^ 


u 


Fed. 


#     Fed. 


i^^ 


-©>- 


^?z^ 


■x==x 


J^t 


ne    Zhin-ga  dha-we    dho     dho  we  .    .  he 


a^^ 


:t=P4: 


^: 


♦  Fed 


-i^ 


*        Fid. 


1=^ 


»  S.S  d 


^e^^ 


Pi 


_  -ritard.._ 

ho-i  -  ne  Zhin-ga dha we  dhodhoweha    je  dha  we. 

.-^f-  -#-  ^2.  ^S-  ^2-MlL      ^2. 


ii-=i 


9^^S 


i» — s- 


i^^  ^ 
^^^r^ 


ss~^^ 


*  P^.!?. 


#  J°^</. 


COMFORTING  THE   CHILD. 

The  three  following  songs  have  a  common  motive, 
and  are  parts  of  one  ceremonial  action;  but  the 
motive  is  treated  differently  in  each  song,  so  as  to 
conform  to  the  movements  of  the  ceremony.*  An 
unconscious  art  is  here  shown,  which  is  interesting 
as  a  bit  of  musical  archaeology.  During  the  ** calu- 
met "  ceremony  among  the  Pawnees,  if  a  child  cried 
and  would  not  be  comforted,  its  parents  were  per- 
mitted to  appeal  to  the  * 'calumets  "  for  help. 

The  fan-shaped  pendant  of  one  of  these  ''calu- 
mets "  was  made  of  the  feathers  of  the  golden  eagle. 
This  bird  in  the  ceremony  was  called  Kawas,  and 
symbolised  the  peaceful  and  conserving  power,  the 
giver  and  preserver  of  life,  the  parent  of  all  things. 
It  was  to  the  priestly  bearer  of  this  particular  "cal- 
umet ' '  that  the  parents  appealed.  On  receiving 
the  appeal,  the  priest  and  his  assistants  arose,  and, 
standing  beside  "the  holy  place, " — the  consecrated 
space  where  the  "calumets"  were  laid  at  ceremo- 
nial rest, —  they  sang  this  song,  thus  passing  on  to 
Kawas  the  appeal  of  the  parents. 

•These  songs  were  never  before  noted,  and  have  hitherto  been  sealed  from  the 
knowledge  of  the  white  race.  They  were  given  and  explained  by  a  priest  of  the  rite, 
through  Mr.  James  R.  Murie. 

I08 


KAWAS,   THY   BABY    IS    CRYING. 

Pawnee. 


i 


Swinging  rhythm. 
I  Intro.    I  ,r     ^.^ 


Transcribed  from  Graphophone  record 
and  Harmonized  by  E.  S.  Tracv. 


5^::i=^:t=t3ttati?: 


■& 


n 


f 


i^n: 


wha-kara-tsawe     Ka  - 


& 

^ 


7^1 

Ho        o  Ka    -    was     ta 


w* 


^ 


^^n 


£3E^Qi 


^s 


v^ 


iizit 


p^^.     W  p^^. 


^     Ped. 


fi: 


^^ 


::1=izj==g=^z=J:tl-r-i'-*-4:iiz:i^ j: 


:2^:fi 


fi 


Ah     he     -    wi !        wha-ka  ra-tsa     we. 


Ka 


W^ 


■L-i-^i^ 


m 


^^n 


% 


ES 


&Vr 


Ped. 


Ped. 


Ped. 


i 


i 


^^ 


J=g-t=hfcjj=i=^ 


1 


1*^      #^  -i^ 


-    was     ta    . 

r F ^-^ 


wha-ka -ra  tsa 


.  we. 


¥:t±:= 


— r^ n 


i^i 


INDIAN    STORY  AND    SONG 

The  words  are  in  the  nature  of  a  prayer,  the 
music  has  the  swing  of  a  lullaby. 

Kawas,  thy  baby  is  crying ! 
Grieving  sore,  wailing,  and  weeping. 
Aye,  forsooth !  wailing  and  weeping, 
Kawas,  thy  baby  is  crying ! 

Then  the  bearers  took  up  the  "calumets"  and 
moved  with  slow  rhythmic  steps  toward  the  crying 
child,  singing  as  they  went  and  swaying  the  sacred 
symbols  to  the  measure  of  this  song.  Its  meaning 
was  explained  to  me  as  follows :  — 

'*Hah-ars  (a  contraction  of  the  word  meaning 
father)  signifies  Ti-ra'-wa,  the  power  that  animates 
all  things,  all  animals,  all  men,  the  heavens,  and  the 
earth.  Ti-ra'-wa  is  represented  by  the  Hako  (the 
*  calumets'),  and  it  is  this  power  which  now  ap- 
proaches  to   console  the   child." 

In  the  music  one  hears  the  coming  of  Ti-ra'-wa  in 
the  footsteps  of  his  creatures,  both  great  and  small. 

Thy  father  is  coming. 
E'en  now  he  is  near  thee  ; 
Cry  no  more :  the  mighty  one, 
Thy  father,  is  coming ! 
no 


THY    FATHER    IS    COMING. 


Transcribed  from  Graphophone  record  and 
Harmonized  by  E.  S.  Tracy. 


i 


Smoothly  but  with  marked  rhythm. 
Intro.     1      .       ^ 


fe 


r§=s 


■It^'t=3t 


S 


w 


fc^* 


Ho     .      Hah-ars    si    -    rah 


we 


ra. 


Plg^g=jg^" 


Ped, 


^=3t 


*  Ped, 


^^-t 


S^E^^S^ 


ti  we  -   ra.    .    . 

^,  N    I I 


Hah-  ars       si 


g^ 


n-d: 


-•l-^# 


p^f^/. 


i^ 


t=.-=x 


|T^^^« 


^ 


r 

Re  -  ko 


He 


we 


^J: 


*= 


^ 


/'<?^. 


*P^^. 


i 


* 


a 


1 


I— t^-U 


p 


"^i 


Hah-ars        si 


X^^^ — t^  ^^^ 


we  -   ra. 


p7d.         r  '  'ji 


INDIAN    STORY  AND    SONG 

Upon  reaching  the  child,  the  golden  eagle  "calu- 
met" was  gently  swayed  above  it,  while  in  the 
background  the  other  *' calumet  "  was  waved  to  ward 
off  disturbing  influences,  and  the  priests  sang  this 
song.  It  is  said  that  on  hearing  it  **the  child  al- 
ways looks  up  and  ceases  its  crying. ' ' 

The  caressing,  almost  playful  rythm  of  the 
music  twines  about  the  deep  religious  feeling  ex- 
pressed in  the  words,  like  the  arms  of  an  infant 
about  the  neck  of  its  thoughtful,  reverent  parent. 

Lift  thine  eyes,  'tis  the  gods  who  come  near, 
Bringing  thee  joy,  release  from  all  pain. 
Sending  sorrow  and  sighing 
Far  from  the  child,  Ti-ra'-wa  makes  fain. 

Ah,  you  look !     Surely,  you  know  who  comes, 
Claiming  you  his  and  bidding  you  rise. 
Blithely  smiling  and  happy, 
Child  of  Ti-ra'-wa,  Lord  of  the  skies ! 


1X3 


LOOK    UP! 

Pawnee. 
Transcribed  from  Graphophone  record,  i 
Harmonized  by  E.  S.  Tracy. 
Swinging  rhythm.     Lightly. 

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MUSIC    IN    INDIAN    LIFE. 

Music  enveloped  the  Indian's  individual  and 
social  life  like  an  atmosphere.  There  was  no  im- 
portant personal  experience  where  it  did  not  bear  a 
part,  nor  any  ceremonial  where  it  was  not  essential 
to  the  expression  of  religious  feeling.  The  songs 
of  a  tribe  were  coextensive  with  the  life  of  the 
people. 

This  universal  use  of  music  was  because  of  the 
belief  that  it  was  a  medium  of  communication  be- 
tween man  and  the  unseen.  The  invisible  voice 
could  reach  the  invisible  power  that  permeates  all 
nature,  animating  all  natural  forms.  As  success 
depended  upon  help  from  this  mysterious  power,  in 
every  avocation,  in  every  undertaking,  and  in  every 
ceremonial,  the  Indian  appealed  to  this  power 
through  song.  When  a  man  went  forth  to  hunt, 
that  he  might  secure  food  and  clothing  for  his  fam- 
ily, he  sang  songs  to  insure  the  assistance  of  the 
unseen  power  in  capturing  the  game.  In  like  man- 
ner, when  he  confronted  danger  and  death,  he  sang 
that  strength  might  be  given  him  to  meet  his  fate 
unflinchingly.  In  gathering  the  healing  herbs  and 
in  administering  them,    song  brought  the  required 

114 


MUSIC    IN    INDIAN    LIFE 

efficacy.  When  he  planted,  he  sang,  in  order  that 
the  seed  might  fructify  and  the  harvest  follow.  In 
his  sports,  in  his  games,  when  he  wooed  and  when 
he  mourned,  song  alike  gave  zest  to  pleasure  and 
brought  solace  to  his  suffering.  In  fact,  the  Ind- 
ian sang  in  every  experience  of  life  from  his  cradle 
to  his  grave. 

It  would  be  a  mistake  to  fancy  that  songs  floated 
indiscriminately  about  among  the  Indians,  and 
could  be  picked  up  here  and  there  by  any  chance 
observer.  Every  song  had  originally  its  owner.  It 
belonged  either  to  a  society,  secular  or  religious,  to 
a  certain  clan  or  political  organization,  to  a  partic- 
ular rite  or  ceremony,  or  to  some  individual. 

Religious  songs  were  known  only  to  the  priest- 
hood ;  and,  as  music  constituted  a  medium  between 
man  and  the  unseen  powers  which  controlled  his 
life,  literal  accuracy  was  important,  otherwise  the 
path  between  the  god  and  the  man  would  not  be 
straight,  and  the  appeal  would  miscarry. 

In  every  tribe  there  were  societies  having  a  defi- 
nite membership,  with  initiatory  rites  and  recipro- 
cal duties.  Each  society  had  its  peculiar  songs; 
and  there  were  officials  chosen  from  among  the 
members  because  of  their  good  voices  and  retentive 

"S 


INDIAN    STORY  AND    SONG 

memories,  to  lead  the  singing  and  to  transmit  with 
accuracy  the  stories  and  songs  of  the  society,  which 
frequently  preserved  bits  of  tribal  history.  Fines 
were  imposed  upon  any  member  who  sang  incor- 
rectly, while  ridicule  always  and  everywhere  fol- 
lowed a  faulty  rendering  of  a  song. 

The  right  to  sing  a  song  which  belonged  to  an 
individual  could  be  purchased,  the  person  buying 
the  song  being  taught  it  by  its  owner. 

These  beliefs  and  customs  among  the  Indians 
have  made  it  possible  to  preserve  their  songs  with- 
out change  from  one  generation  to  another.  Many 
curious  and  interesting  proofs  of  accuracy  of  trans- 
mittal have  come  to  my  knowledge  during  the  past 
twenty  years,  while  studying  these  primitive  mel- 
odies. 

Indian  singing  was  always  in  unison;  and,  as  the 
natural  soprano,  contralto,  tenor,  and  bass  moved 
along  in  octaves,  the  different  qualities  of  tone  in 
the  voices  brought  out  the  overtones  and  produced 
harmonic  effects.  When  listening  to  chorals  sung 
by  two  or  three  hundred  voices,  as  I  have  many 
times  heard  them  in  ceremonials,  it  has  been  diffi- 
cult to  realise  that  all  were  singing  in  unison. 

Close  and  continued  observation  has  revealed  that 
ii6 


MUSIC    IN    INDIAN    LIFE 

the  Indian,  when  he  sings,  is  not  concerned  with 
the  making  of  a  musical  presentation  to  his  audi- 
ence. He  is  simply  pouring  out  his  feelings, 
regardless  of  artistic  effects.  To  him  music  is  sub- 
jective :  it  is  the  vehicle  of  communication  between 
him  and  the  object  of  his  desire. 

Certain  peculiarities  in  the  Indian's  mode  of 
singing  make  it  difficult  for  one  of  our  race  to  in- 
telligently hear  their  songs  or  to  truthfully  tran- 
scribe them. 

There  is  no  uniform  key  for  any  given  song,  for 
the  Indians  have  no  mechanical  device  for  determin- 
ing pitch  to  create  a  standard  by  which  to  train  the 
ear.  This,  however,  does  not  affect  the  song;  for, 
whatever  the  starting  note,  the  intervals  bear  the 
same  relation  to  each  other,  so  that  the  melody 
itself  suffers  no  change  with  the  change  of  pitch. 

Again,  the  continual  slurring  of  the  voice  from 
one  tone  to  another  produces  upon  us  the  impression 
of  out-of-tune  singing.  Then,  the  custom  of  sing- 
ing out  of  doors,  to  the  accompaniment  of  the  drum, 
and  against  the  various  noises  of  the  camp,  and  the 
ever-restless  wind,  tending  to  strain  the  voice  and 
robbing  it  of  sweetness,  increases  the  difficulty  of 
distinguishing    the    music     concealed    within   the 

117 


INDIAN   STORY  AND   SONG 

noise, — a  difficulty  still  further  aggravated  by  the 
habit  of  pulsating  the  voice,  creating  a  rhythm 
within  the  rhythm  of  the  song. 

Emotion  also  affects  the  rendering  of  Indian 
music.  This  is  especially  noticeable  in  solos,  as 
love-songs,  where  the  singer  quite  unconsciously 
varies  from  a  quarter  to  a  whole  tone  from  the  true 
pitch.  On  the  contrary,  emphasis  sharps  the  tone. 
If,  however,  these  peculiarities  are  imitated  to  him, 
the  Indian  immediately  detects,  and  declares  them 
to  be  wrong,  thus  betraying  his  unconsciousness  of 
his  own  inaccuracies  in  endeavouring  to  strike  a 
plain  diatonic  interval. 

Our  difficulty  in  hearing  the  music  of  the  Indian 
is  equalled  by  the  trouble  he  has  with  our  instru- 
ments. His  attention  is  engaged  by  the  mech- 
anism. He  hears  the  thud  of  the  hammer,  *'the 
drum  inside"  the  piano,  the  twanging  of  the  metal 
strings,  and  the  abrupt,  disconnected  tones.  Until 
he  is  able  to  ignore  these  noises  he  cannot  recog- 
nise the  most  familiar  tune.  Even  then,  if  his 
songs  are  played  as  an  unsupported  aria,  they  are 
unsatisfactory  to  him.  His  ear  misses  something 
it  heard  in  the  unison  singing  of  his  people,  and 
which  the  addition  of  a  simple  harmonic  accompani- 

ii8 


MUSIC    IN    INDIAN    LIFE 

ment  supplies,  making  the  melody,  as  he  says, 
**sound  natural."  The  discovery  of  the  Indian's 
preference  in  the  rendition  of  his  songs  upon  the 
piano  led  to  many  experiments,  in  which  Professor 
Fillmore  took  part,  and  that  brought  to  light  many 
interesting  facts.  Among  these  facts  may  be  men- 
tioned the  complexity  of  rythms,  one  played  against 
the  other;  the  modulation  implied  in  some  of  the 
melodies;  the  preference  for  a  major  chord  in  clos- 
ing a  minor  song;  and  the  use  of  certain  harmonic 
relations  which  have  been  deemed  peculiar  to  the 
modern  romantic  school. 

As  these  melodies  are  the  spontaneous  utterances 
of  a  people  without  any  theory  of  music  or  even  a 
musical  notation,  they  throw  light  upon  the  struct- 
ure, development,  and  freedom  of  natural  expres- 
sion in  music. 


119 


THE  RELATION  OF  STORY  AND  SONG. 

The  rise  of  our  music  and  poetry  is  lost  in  an 
irrevocable  past;  but,  as  the  operation  of  psychical 
laws  is  universal,  it  may  be  that  some  of  the  influ- 
ences that  have  been  operative  in  the  growth  of  these 
arts  can  be  discovered  through  the  study  of  native 
American  story  and  song,  born  of  a  race  living  in  a 
state  of  culture  antecedent  to  that  in  which  our 
earliest  literature  and  music  flourished. 

Within  a  generation  diligent  search  has  begun 
among  some  of  the  Indian  tribes,  to  ascertain, 
through  a  sympathetic  study  of  rites,  ceremonies, 
and  customs,  what  were  the  red  man's  ideals,  what  his 
beliefs,  and  what  his  actual  attainments.  Already 
this  labour  is  bearing  fruit.  Scholars  are  recog- 
nising that  the  aboriginal  conditions  on  this  conti- 
ment  throw  light  on  the  slow  development  of  human 
society  and  its  institutions;  and  the  time  seems  not 
distant  when  students  of  man's  culture  will  turn 
hither  for  evidence  needed  to  fill  gaps  or  to  explain 
phases  in  the  development  of  art,  —  art  in  form,  in 
colour,  and  in  melody,  —  for,  it  has  been  well  said, 
America  is  the  ''fossil  bed"  where  are  preserved 
stages  of  progress  unrecorded  in  written  history. 


THE  RELATION  OF  STORY  AND  SONG 

In  Indian  story  and  song  we  come  upon  a  time 
where  poetry  is  not  yet  differentiated  from  story 
and  story  not  yet  set  free  from  song.  We  note  that 
the  song  clasps  the  story  as  a  part  of  its  being,  and 
the  story  itself  is  not  fully  told  without  the  cadence 
of  the  song.  Yet  in  even  the  most  primitive  ex- 
amples a  line  of  demarcation  can  be  discerned;  and 
when  this  line  has  deepened,  and  differentiation  has 
begun,  we  are  able  to  trace  the  formative  influence 
exerted  by  story  upon  song  and  by  song  upon  story, 
and  can  observe  what  appear  to  be  the  beginnings 
of  musical  and  poetical  structure. 

The  brevity  of  Indian  songs  at  once  arrests  atten- 
tion. They  begin  without  introduction,  almost 
abruptly,  breaking  out  upon  us  as  though  sur- 
charged. This  peculiarity  arises  from  the  relation 
of  the  song  to  the  story.  The  story  is  always 
founded  upon  a  dramatic  circumstance,  in  which  at 
some  point  the  emotion  is  forced  to  find  a  means  of 
expression  beyond  the  limitation  of  words  alone; 
and  the  song  is  the  result.  This  dramatic  circum- 
stance may  be  a  danger  confronted  or  averted,  a 
valorous  deed  achieved  or  a  difficulty  surmounted,  a 
religious  experience  or  an  ardent  craving  for  super- 
natural aid.     The  Omaha  tribal  prayer  will  serve  as 

I3X 


INDIAN    STORY  x\ND    SONG 

an  illustration,  where  the  cry  to  Wa-ko«-da  is  the 
climatic  voicing  of  the  youth's  desire  in  the  midst 
of  his  weary  vigil  and  fasting.  His  long  prepara- 
tion for  the  rite,  the  solitude  of  his  surroundings, 
the  suffering  of  mind  and  body  as  alone  he  faces 
nature  and  the  supernatural, —  all  these  conditions 
make  the  story,  and,  to  the  Indian,  form  the  true 
setting  of  the  song. 

The  motive  of  a  song  and  its  distinctive  rhythm 
were  determined  by  the  emotion  evoked  by  the 
dramatic  circumstance.  The  simplest  resultant 
of  this  directive  emotion  in  music  is  a  pulsating 
rhythm  on  a  single  tone.  Such  songs  are  not  ran- 
dom shoutings,  but  have  a  definite  meaning  for  those 
who  sing  and  for  those  who  listen,  as  in  this  Na- 
vaho  ritual  song. 


From  this  extremely  simple  expression  the 
growth  of  the  musical  motive  can  be  traced  in  these 
Indian  songs  through  the  use  of  two  or  more  tones 
up  to  the  employment  of  the  full  complement  of  the 
octave.  * 

*A  careful  analjrsis  of  hundreds  of  aboriginal  songs,  gathered  from  the  arctic 
seas  to  the  tropics,  shows  that  in  every  instance  the  line  taken  by  these  tones  is  a 


A  PRAYER  FOR  RAIN. 


Mexico.     Tarahumare. 

From  Dr.  Carl  Lumholtz. 


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SONG. 


^ — ^ — ^ 


British  Columiia.     Kwakiutl. 

Prof.  J.  C.  Fillmork. 
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chord-line  where  the  tones  are  harmonically  related  to  each  other.  Out  of  these 
related  tones  the  untutored  savage  has  built  his  simple  melodies.  The  demonstration 
of  the  interesting  fact  that  "  the  line  of  least  resistance  "  in  music  is  a  harmonic  line 
was  made  by  my  late  associate,  Professor  John  Comfort  Fillmore. 

123 


INDIAN    STORY  AND    SONG 

The  creation  of  that  which  we  know  as  musical 
form  seems  also  to  be  due  to  the  influence  of  story 
upon  song.  We  have  already  noted  how  the  direc- 
tive emotion  started  the  distinctive  rythm  and  de- 
termined the  order  of  the  related  tones,  and  so  con- 
structed the  motive  or  theme.  But  neither  the 
rythm  nor  the  simple  motive  could  express  the 
movement  of  the  dramatic  story:  hence  we  find  this 
expressed  by  the  repetition,  modification,  and  varia- 
tion of  the  motive,  the  growth  of  the  phrase,  the 
formation  of  the  clause,  and  the  grouping  of  clauses 
into  a  period, —  in  fact,  the  outline  of  the  form  upon 
which  all  our  culture  music  is  built.  Culture 
music,  however,  shows  an  intellectual  control  of 
emotion,  a  power  of  musical  thinking,  the  enlarging 
and  embellishing  of  musical  form,  —  a  form,  never- 
theless, which  we  find  outlined,  more  or  less  clearly, 
in  the  songs  of  the  untutored  red  man.  The  differ- 
ence between  these  spontaneous  Indian  melodies  and 
the  compositions  of  the  modern  masters  would  seem 
to  be  not  one  of  kind,  but  one  of  degree. 

As  these  songs  are  from  a  race  practically  without 
musical  instruments, —  for  the  drum  and  rattle  were 
used  only  to  accentuate  rythm,  —  they  are  repre- 
sentative of  the  period  when  the  human  voice  was 

124 


THE  RELATION  OF  STORY  AND  SONG 

the  sole  means  of  musical  expression,  —  a  period 
which  antedated  the  invention  of  instruments  by  an 
immeasurable  time.  They  prove,  therefore,  that 
musical  form  was  not  developed,  as  has  sometimes 
been  stated,  by  the  use  of  instruments,  but  that  it 
took  its  rise  in  a  mental  necessity  similar  to  that 
which  gave  structure  to  language. 

The  influence  of  song  upon  story  is  seen  in  the 
attempt  to  bend  prose  to  a  poetic  form. 

Many  Indian  songs  have  no  words  at  all,  vocables 
only  being  used  to  float  the  voice.  On  classifying 
these  wordless  songs,  we  discover  that  those  which 
are  expressive  of  the  gentle  emotions  have  flowing, 
breathing  vocables,  but,  where  warlike  feelings 
dominate  the  song,  the  vocables  are  aspirate  and 
explosive.  In  this  determinate  use  of  vocables  we 
happen  upon  what  seems  to  represent  the  most  prim- 
itive attempt  yet  discovered  to  give  intellectual 
definition  in  verbal  form  to  an  emotion  voiced  in 
rythm  and  melody. 

In  songs  where  words  are  employed,  we  also  find 
vocables  which  are  in  accord  with  the  spirit  of  the 
song,  used  to  make  the  words  conform  to  the  mu- 
sical phrase.  These  vocables  are  either  appended 
to  the  word  or  else  inserted  between  its  syllables, 

"S 


INDIAN    STORY   AND    SONG 

to  give  length  or  added  euphony.  We  also  note  a 
desire  for  rhyming,  since  vocables  similar  in  sound 
frequently  occur  at  the  end  of  each  musical  phrase. 

It  would  lead  into  too  many  details  to  present  the 
various  devices  discernible  in  this  aboriginal  mate- 
rial by  vs^hich  the  Indian  sought  euphony  and  meas- 
ure. Nor  can  it  be  easily  illustrated  hovir  words  of 
many  different  languages  were  bent  by  elisions  or 
stretched  by  vocables,  that  they  might  conform  to 
the  musical  phrase.  There  is  abundant  evidence 
that  the  ear,  accustomed  to  the  pleasure  of  the 
rythmic  cadence  of  the  song,  was  beginning  to 
demand  a  corresponding  metrical  use  of  words  in 
expressing  the  poetic  thought  involved  in  the  dra- 
matic story  which  gave  birth  to  the  music. 

The  art  of  poetry  is  here  in  its  infancy,  giving 
even  less  sign  of  its  future  development  than  music, 
which  had  already  acquired  the  outline  of  that  form 
which  has  since  crystallised  into  the  art  of  music. 
Notwithstanding,  we  find  that  words  were  chosen  for 
their  descriptive  power,  and  that  they  were  made 
rythmical  to  fit  the  melody.  Like  the  swelling 
buds  on  the  bare  branch,  which  hint  the  approach 
of  summer's  wealth,  so  these  little  vocables  and 
rythmic  devices  whisper  the  coming  of  the  poets. 

126 


>3 


J^ 


.yO 


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